Tuesday, September 30, 2008

POCO - THE FORGOTTEN TRAIL 1969 - 1974

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
Ripped by : evermoreblues
Artwork Included

Monday, September 29, 2008

WET WILLIE - S/T 1971

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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CORPUS - CREATION A CHILD 1970

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 : 

1.-Cruising
2.-Joy
3.-Marrieage
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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Artwork included

LYLE LOVETT AND HIS LARGE BAND - LYLE 1989

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
Ripped by : evermoreblues
Artwork Included

Sunday, September 28, 2008

JOE WALSH'S GREATEST HITS - LITTLE DID HE KNOW

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 : 
http://rapidshare.com/files/149181870/Joe_Walsh_s_Greatest_Hits-_Little_Did_He_Know.rar

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LINDISFARNE - DINGLY DELL 1972

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 : 
http://rapidshare.com/files/149186236/Lindisfarne_-_dingly_dell_1972.rar

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ALAN JACK CIVILIZATION - BLUESY MIND 1969

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 : 
http://rapidshare.com/files/149183029/BLuesy_mind_-_Alan_jack_civilization_1969.rar

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Artwork included

Saturday, September 27, 2008

LEFT FOOT DOWN - S/T 1991

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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MAGELLAN - HOUR OF RESTORATION 1991

 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

Line-up/Musicians

- 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

Ripped by : evermoreblues

Artwork included

Friday, September 26, 2008

AMERICAN BLUES - IS HERE 1968

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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IMPROVED SOUND LIMITED - RATHBONE HOTEL 1976

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 : 
http://rapidshare.com/files/148614644/Improved_sound_limited_-_rathbone_hotel_1976.rar

Ripped by : evermore blues
Artwork Included

IMPROVED SOUND LIMITED - S/T 1971

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
Johanna
If you want to
Oedipus
Fudd McGorges
Thingamannalime
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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Artwork Included

Wednesday, September 24, 2008

DINO VALENTE - S/T 1968

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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Artwork included

GORDON LIGHTFOOT - IF YOU COULD READ MY MIND 1970

'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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Artwork included

Tuesday, September 23, 2008

BRANDYWINE BRIDGE - AN ENGLISH MEADOW 1978

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
Dreamwater
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
Ripped by : evermoreblues
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 )

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


Ripped by : evermoreblues
Artwork included 

Monday, September 22, 2008

MIKE McGEAR - WOMAN 1972

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 )

TOM RUSH - THE CIRCLE GAME 1968 / TOM RUSH 1970

Tom Rush came up in the Boston/Cambridge folk scene of the early '60s, playing folk-blues on a series of albums for Prestige Records, then moved to Elektra, and by the late '60s was interpreting the work of such upcoming writers as Joni Mitchell and James Taylor. By the early '70s, he was mixing his own songs on albums for Columbia. In recent years, Rush has become something of a folk packager, putting together road shows that include some of the newer folk performers. ~ William Ruhlmann, All Music Guide










Tracks :

The circle game 1968
___________

Tin Angel
Something in the way she moves
Urge for going
Sunshine Sunshine
The glory of love
Shadow dream song
Rockport Sunday
No regrets

Tom Rush 1970
___________

Driving will
Rainy day man
Drop down Mama
Old man's song
Lullaby
These days
Wild child
Colors of the sun
Livin' in the country


Link : http://rapidshare.com/files/147382980/Tom_rush_the_circle_game___St.rar

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Artwork Included

ANT TRIP CEREMONY - 24 HOURS 1968

How did such a wonderfully strange name such as Ant Trip Ceremony come about? The band's name came from Steve DeTray. He entered Oberlin College in Ohio in 1964 but took a hiatus from college in 1966 and part of 1967. He went to stay with his brother in Logan, Utah. There Steve formed a band and needed a name. By chance he mentioned it to an English professor at the nearby University in early 1967. The professor suggested a phrase, "ant trip ceremony", from an American novel whose title Steve can't recall. The author described modern societal life as an ant trip ceremony. Steve thought it spoke to the alienation felt by many of the younger generation in 1967, and the name stuck. So in essence there were two different groups with the name Ant Trip Ceremony. The first one Steve formed in Utah in early 1967 and then the second one which he formed at Oberlin in the fall of 1967.

Steve left Utah in the summer of 1967 and headed back for a tour of duty at Oberlin College. The band he had in Utah had broken up and Steve wanted to put together another band at Oberlin. Steve put out the word that he wanted to form an electric rock and roll band. Gary Rosen was playing in a blues band with George Galt and Mark Stein. Stein, a multi-talented instrumentalist, was a flute major at the Oberlin Conservatory. Roger Goodman was a brilliant keyboard player, but refused to play it while in Ant Trip Ceremony and only wanted to sing. All the members for the new band were from Oberlin with the exception of Jeff Williams who was a local sixteen year old up and coming jazz musician.

The Ant Trip Ceremony album was recorded during two sessions. the first session was in February of 1968 in a rented hall at Oberlin. Steve was there for the first sessions but had left Oberlin by the spring of 1968 and was not present for the second recording session. The album was called "Twenty Four Hours"because that was the feeling behind the sessions (ie.that it took what seemed like twenty four hours to record). The machinery used for the recordings was primitive. The band used a KLH tape deck for playback and a two track Roberts reel to reel for recording. When they wanted to multi-track they would record on one side of the tape and then record on the other side as well. Then they would mix it down to the KLH. The reason the album sounds somewhat imbalanced is because the KLH had one faulty speaker and thus the speaker balance leaned heavily to the left. This ended up affecting the final mix-down.

How were the songs chosen for the album? The band felt ready to record their original songs. These were performed live before student audiences. During live shows, the band was wild, but sadly no live tapes exist. Thus the original songs done on the album when performed live were more psychedelic and improvised. Where did the band play live? Mostly at Oberlin and at off campus parties. The band was known for getting into strange and long jams. Furthermore no song was ever done twice exactly the same. They were, in some ways like the Grateful Dead of the region. When the band played it was a happening, a genuine psychedelic event. Shows went on for hours, with the audience in a wide variety of states of consciousness.

Three hundred copies of the album were pressed and one hundred were sold for $3.00 each!! The album's expenses was shared equally by the band members. The artwork and production was done at Oberlin for free. Why was the album done? Steve was leaving Oberlin, and the band wanted to capture some of the magic they had collectively created anything could happen in those days, that there were no limits. The producer of the album was David Crosby, an Oberlin student and good friend of the band who was very much into music production and sounds. Sadly, he passed away during the making of this reissue and will be missed greatly. The artwork for the album was of its time with psychedelic-mind-zapping art work. It was without a doubt a counterculture statement!!

What are the songs about?

"Elaborations"-a great example of Steve's development of the Indian Raga form, with his guitar tuned to get a sitar sound. He had also been to Berkeley in the summer of 1967 and was wowed by bands such as The Grateful Dead, Jefferson Airplane, and Quicksilver.

" Pale Shades Of Gray"-.words were written by Steve's first wife, with some Procol Harum influence, is about the pain of alienation.

"River Dawn"- George wrote this song about escaping the restrictions of campus life by sitting on the banks of the Ohio River when the sun was coming up.

"Locomotive Lamp"- Gary’s first song as a singer-songwriter. It was a forerunner to the Grateful Dead’s train/drug imagery. “Little Baby”- a blues cover song that was done by Gary and George's blues band before Ant Trip Ceremony.

“ Violets Of Dawn”- the band members were fans of Eric Anderson and covered the song, that was also done by the great Northwest group, The Daily Flash.

“ Hey Joe”- the band loved Jimi Hendrix (of course) and did this cover version in his honor. “Four In The Morning”- a weird but strangely ethereal song that bears a striking similarity to “Hey Joe” with its despondency and desperateness.

“Outskirts- A song about alienation, has words by Oberlin poet, Sandy Lyne and music by pianist, Neal Evans.

“What the matter now”- written by George's friend , Jack Lee. Lee used to play with Mother Earth. George got the tune from Jeff and added different words to it.

“Get Out Of My Life Woman”-a then popular cover song that west coast bands such as “The Doors” were performing.

“What’s The Matter Now”-a lovely psychedelic number that predates the background vocal effect John and Yoko were doing in 1969 and 1970. “Sometimes I Wonder”- no available comments on this blues flavored melody.

Ant Trip Ceremony lasted for about one year, then disbanded upon the member’s graduation from Oberlin College. In their wake they left this fine artifact from their oeuvre and forty years after “24 Hours” was first released it sounds as good as ever.

Tracks :

Outskirts
Pale shades of gray
Hey joe
Four in the morning
What's the matter now
Elaborations
Riverdawn
Violets of dawn
Locomotive lamp
Little baby
Sometimes I wonder
Get out of my life woman

Link : http://rapidshare.com/files/147382004/Ant_trip_ceremony_-_24_hours.rar

Ripped by : evermoreblues
Artwork included

Sunday, September 21, 2008

GRIN - GONE CRAZY 1973

While this album doesn't contain their "hits" like White Lies or Moontears it's still classic Nils. The cover art is nursery rhyme meets nightmare surrounding a picture of Nils in flight. Live, these guys would have a mini-tramp on stage, just in case anyone wanted to do a flying backflip during a solo.







Tracks :

1.: You're The Weight

2.: Boy And Girl

3.: What About Me

4.: One More Time

5.: True Thrill

6.: Beggar's Day (eulogy to Danny Whitten)

7.: Nightmare

8.: Believe

9.: Ain't For Free


Band:

Nils Lofgren: guitar, keyboards, lead vocals
Tom Lofgren: guitar, background vocals
Bob Gordon: bass, background vocals
Bob Berberich: drums, lead vocals

Link :
http://rapidshare.com/files/147297210/Grin__gone_crazy.rar

Artwork included

WHITESNAKE - STARKERS IN TOKYO 1997

This album is a must for all Whitesnake/Coverdale fans...this is Coverdale stripped bare, the vocals will melt your cd player.Vandenburgs acoustic work is excellent throughout. Coverdale has one of (if not the) finest voice/vocal range in music. Dim the lights grab a drink and a partner,and just enjoy this album.For anybody unsure this album is worth the money purely for the strongest version of Soldier of Fortune recorded..The acoustic workings of familiar rockers is refreshing ..the ballads even more soulful ..go and buy this album and enjoy.








Tracks :

1. Sailing Ships
2. Too Many Tears
3. Deeper The Love
4. Love Ain't No Stranger
5. Can't Go On
6. Give Me All Your Love
7. Don't Fade Away
8. Is This Love
9. Here I Go Again
10. Soldier Of Fortune


Link : http://rapidshare.com/files/147176972/Whitesnake_-_Starkers_In_Tokyo_.rar

Ripped by : evermoreblues
Artwork included

GRIN - ALL OUT 1972

From 1971 to 1974 the band released four albums of catchy, hard rock, with guitar as his primary instrument. Though Lofgren wrote the majority of the group's songs, he often shared vocal duties with other members of the band (primarily drummer Bob Berberich). After the second album Nils added brother Tom Lofgren to the fold as a rhythm guitarist. Though Grin was a success with critics they failed to hit the big time.



Tracks :

  1. "Sad Letter" - 3:10
  2. "Heavy Chevy" - 3:34
  3. "Don't Be Long" - 2:17
  4. "Love Again" - 4:05
  5. "She Ain't Right" - 3:27
  6. "Love or Else" - 3:40
  7. "Ain't Love Nice" - 2:07
  8. "Heart On Fire" - 5:00
  9. "All Out" - 3:04
  10. "Rusty Gun" - 2:24
Band :

  • Nils Lofgren - Guitars, Keyboards, Lead Vocals
  • Bob Berberich - Drums, Lead Vocals
  • Bob Gordon - Bass, Background Vocals
  • Tom Lofgren - Guitars, Background Vocals

Special thanks to

  • Kathy McDonald - Vocals
Link : http://rapidshare.com/files/147171788/grin_all_out.rar

Ripped by : evermoreblues
Artwork included


Saturday, September 20, 2008

PARISH HALL - S/T 1970

Parish Hall was a power trio from the California Bay Area. The band consisted of Gary Wagner (guitar, piano, vocals),John Haden (bass), and Steve Adams (drums). Specializing in a hard rock/blues rock sound, their album was originally released near the end of 1970 on a small local California record label. Reminiscent of the sound of another popular trio of the day, the Jimi Hendrix Experience,Parish Hall had begun to gain the recognition of some European collectors by the late 1990s, and originals have fetched high prices in collector's markets. All songs on this album are originals written by Wagner and hold up well when compared to other hard rock acts. The album has been reissued by Akarma with the original artwork and digitally remastered sound.





Tracks : 

1: My Eyes Are Getting Heavy (5:16)
2: Dynaflow (3:06)
3: Ain't Feelin' Too Bad (2:50)
4: Silver Ghost (2:53)
5: Skid Row Runner (3:19)
6: Lucanna (2:32)
7: We're Gonna Burn Together (2:37)
8: Somebody Got the Blues (3:02)
9: How Can You Win? (2:53)
10: Take Me with You When You Go (2:55)



Ripped by : evermoreblues
Artwork Included

SPRIGUNS OF TOLGUS - JACK WITH A FEATHER 1975

The Spriguns (of Tolgus) were formed as a duo in 1972 by husband and wife,Mike and Mandy Morton playing traditional folk music not dis-similar to early Steeleye Span .They opened The Anchor Folk Club in Cambridge,gradually enlisting more musicians.Their first recording was a badly recorded cassette only set of sons called 'Rowdy Dowdy Day'. All the while,they were attracting a large and following.
They came to the attention of Steeleye Span's Tim Hart who produced their first album proper,'Jack With Feather' in 1973.

Six months after the release of 'Jack With Feather', Mandy formed the new 'Spriguns' ,dropping the 'Of Tolgus' suffix and signing with Decca Records.The band recorded 'Revel Weird and Wild' in1975,again produced by Tim Hart.
The sound was becoming rockier but they hadn't forgotten their traditional roots just yet.

In 1977 ,during the height of Punk,Spriguns recorded their final album,'Time Will Pass'.This time production duties fell to the respected Sandy Roberton.The orchestration on the album was conducted by Robert Kirby,famous for his work with Nick Drake and The Strawbs amongst many others.The sound this time was rockier.Similar to The Trees or Mellow Candle in style,with some excellent long guitar solos.Not long after the albums release,Mandy Morton left to persue a solo career.She released the 'Magic Lady' album in 1978,which is very similar to Sandy Denny's solo material.

This is a folk album for sure, but it isn’t progressive by any stretch of the imagination. In fact, these are all traditional folk tunes of some variation of British origin (mostly English I think). Some were also on Spriguns first album (“Let No Man Steal Your Thyme” and “Keys Of Canterbury”), although from what I understand that record is nearly impossible to find..

The band would drop “of Tolgus” from their name after this release, and guitarists/mandoliners Rick Thomas and Chris Russon would disappear before the next release. Somewhere along the line Mandy and Mike Morton split up as well, and Spriguns became something of a B-list band with a revolving lineup of journeyman players backing Ms. Morton’s own compositions in the studio and on spotty local tours.

Highly Recommended !

Tracks : 

1. Lambton Worm (4:10)
2. Let No Man Steal Your Thymet (2:57)
3. Derby Ram (2:45)
4. Jigs: a)Rakes Of Malo b)St. Patricks Day c)Ten Penny Bit (3:52)
5. Flodden Field (6:41)
6. Troopers Nag (3:39)
7. Curragh Of Kildare (4:48)
8. Keys Of Canterbury (3:34)
9. Twa Magicians (4:02)
10. Seamus The Showman (2:48)
11. Barren Banks Of Aden (1:13)



Ripped by : evermoreblues
Artwork included

Thursday, September 18, 2008

ANNIE HASLAM - ANNIE IN WONDERLAND 1977

Annie Haslam got her start in music on a dare. Taking the stage at a Canadian club to sing Mary Hopkin's "Those Were the Days" at some friends' urging, she made such an impression--surprising even herself--that she dropped her fashion design studies and started classical vocal training. Soon afterward, in 1971, she answered an ad and became Renaissance's vocalist.

Her clear, controlled voice was the missing ingredient in Renaissance's hitherto-unrealized prog-folk stew, and the group became an AOR phenomenon--even more so in the United States than in their native England. She remained with the group through sixteen years and ten albums, until, after myriad lineup changes and a stint as "Annie Haslam's Renaissance", the group finally folded, in 1987. Haslam then resumed a solo career which she had toyed with in 1977 with her release Annie in Wonderland, a collaboration with Roy Wood of The Move/ELO/Wizzard/Wizzo/etc. fame.

After two rather unsuccessful late-'80s solo releases, Haslam lost her recording contract. In desperate financial straits, she took to the road on a successful barnstorming tour which brought her back into the limelight once more. After a fearful bout with breast cancer, in 1993 she released her fourth solo LP, Blessing In Disguise, with the help of super-producer Tony Visconti.

Tracks : 

____________

Intolise

I Never Believed in Love

If I Loved You

Hunioco

Roclalise

Nature Boy

Inside My Life

Going Home

____________

Link : http://rapidshare.com/files/146635888/Annie_haslam_in_wonderland_1977.rar

Ripped by : evermoreblues

Artwork Included


LINK WRAY S/T 1971

One of the more influential guitarist of the Fifties, Link Wray introduced the distorted fuzz-tone sound on his million selling single. "Rumble." Link Wray is credited with having more influence than his track record might indicate. Pete Townshend of the Who has referred to him as "the king."  Ray has been called the godfather of the guitar power chord and the father of heavy metal rock. In fact, he might be this and more.

Fred Lincoln Wray Jr., who was part Native American, was born May 22, 1935 in rural Dunn, NC. Both of Wray's parents were preachers in the Holiness Church. He learned bottleneck guitar as a youth, after moving with his parents to Arizona. Link joined the Army after high school and entertained on the Arm Forces Network in Germany.  After returning from the Korean War, where he  lost a lung to tuberculosis, Wray was told not to sing so he devoted himself to the guitar. He formed a combo with brothers Vernon and Doug.  Even though they were playing country songs, they often performed them in such a rough manner that they were kicked off stage!

"We played rock ‘n roll ten years before it was given a name" Wray supposedly
stated in later years.

In 1956 as "Lucky" Wray and the Palomino Ranch Hands, they recorded the first of three country/rockabilly singles for Starday Records. Vernon led the band on four singles for Cameo Records in 1957-58. In 1958 an instrumental built around the Stroll was picked up by Cadence Records. "Rumble" with its crashing guitars chords set off a chain reaction as socially conscious groups petitioned to have the tune banned because of its perceive association with juvenile delinquency. "Rumble" sold over a million copies and reached #16 that year.

Wray who was not signed with Cadence was quickly picked up by Epic Records, which channeled his energy into a series of less raucous instrumentals including "Rawhide," "Comanche," and "Slinky." Doug Wray also recorded "Goosebumps" for Epic in 1959.

After a brief stop at Okeh, the Wray's recorded on several labels including Rumble, Atlas and Trans-Atlantic. In 1963 Link showed up on Swan Records with "Jack the Ripper." He stayed with Swan until 1967. Thereafter, he recorded for many labels.

Having problems both with marketing, and record deals, made Link Wray fed up of playing in the late -60's. He retired from the business and was just about to change careers entirely.

By this time Wray had retired to a family farm commune in Maryland, where he built a three track studio in a shed , playing live only occasionally at local bars.Fortunately Wray returned in 1971. But this time with a pretty different sound that shocked his old fans. Gone were the howling guitars; he now played "down to earth" country and blues with acoustic guitars and a pleasant voice. However it didn’t last to long. Some years later he returned to his original style and music. In the beginning together with Robert Gordon (and made two records), and later on his own. His new records wasn't as good as the old ones from the -50's and -60's, but in concerts he was still an ace.

Many of the three track recordings were issued on the 1971 Link Wray, a critically acclaimed LP that sold little and was largely made possible by admiring rock stars like Peter Townsend, Jeff Beck, Bob Dylan and Ray Davies.

Wray moved to Denmark in 1983. The reason was his Danish wife Olive Julie. Link says "I can go and live everywhere, and still go on tour to rock 'n' roll, and record albums - doesn't matter where I live, and I moved to Denmark for Olive."

Wray was unwilling to compromise his music to appeal to the masses. It was his attitude as well as much as his guitar skills that appealed to the punk rock crowd when they discovered him in the 1970s.

Tracks : 

  1. "La De Da" (Steve Verroca) - 4:04
  2. "Take Me Home Jesus" (Steve Verroca) - 3:21
  3. "Juke Box Mama" (Steve Verroca) - 4:29
  4. "Rise and Fall of Jimmy Stokes" (Steve Verroca) - 4:02
  5. "Fallin' Rain" (Link Wray) - 3:44
  6. "Fire and Brimstone" (Link Wray) - 4:21
  7. "Ice People" (Link Wray) - 3:03
  8. "God Out West" (Steve Verroca) - 3:54
  9. "Crowbar" (Link Wray) - 4:48
  10. "Black River Swamp" (Link Wray) - 3:58
  11. "Tail Dragger" (Willie Dixon) - 4:32

Ripped by : evermoreblues
Artwork included


THE 31st OF FEBRUARY - S/T 1968

The 31st of February made an obscure album for Vanguard in the late 1960s that was typical of many LPs of the time that didn't make an impression. There was a little bit of folk-rock, a little bit of psychedelia, and a little bit of pop. Ultimately it didn't have a lot of significance, without memorable original material or a consistent or interesting style, though the playing and singing is competent, and the mood usually reflective. All of their members, though, went on to projects that made a more lasting commercial impact. Butch Trucksbecame drummer for the Allman Brothers; Scott Boyer played inCowboy; and bassist David Brown went to Santana.
While there's nothing particularly objectionable about the 31st of February's sole album, there's nothing exciting or memorable about it either. It's average late-'60s pop-psychedelic/folk-rock, dominated by the songs of either Scott Boyer or David Brown, though they also cover Buffy Sainte-Marie's "Cod'ine," Jackie DeShannon's obscure "The Greener Isle," and the Dan Penn-Spooner Oldham-Chips Moman collaboration "Sandcastles." Light, reflective folk-rock is the primary color, slightly more downbeat than upbeat (heard to its best effect on "Porcelain Mirrors" and the lugubrious "Cries of Treason"), with a faint Baroque tinge to some of the arrangements and the occasional orchestration. There's a bit of California psychedelic freakout as well on "A Nickel's Worth of Benny's Help," though again this doesn't get too far out or interesting.

Tracks:

1 Sand Castles Moman, Oldham, Penn 2:44
2 Porcelain Mirrors Boyer 2:55
3 Broken Day Brown 2:56
4 Wrong Brown 2:11
5 The Greener Isle DeShannon 2:45
6 Codeine Sainte-Marie 6:17
7 A Different Kind of Head Brown 2:46
8 Pedestals Boyer 2:25
9 Free Boyer 2:29
10 A Nickel's Worth of Benny's Help Boyer 4:22
11 Pick a Gripe Boyer, Trucks 2:06
12 Cries of Treason Boyer 3:09

Artwork Included ( home made back cover )

LOS JAIVAS - ALTURAS DE MACCHU PICCHU 1981

 "Alturas De Macchu Picchu" (The Height Of Macchu Picchu) is a brilliant blend of Andrean folk and progressive rock music styles. Essentially Los JAIVAS have taken traditional Peruvian / Chilean folk music and blended it with a heavier Progressive rock style (moogs, guitars, drums...). The end result is something you have never heard before but will definitely learn to love quickly. Lead singer Gato Alquinta has an amazing voice and can really belt it out without ever sound overly overbearing. His vocals are sung of course in Spanish and are done so with high degree of romanticism not unlike many of the Italian prog greats. The band houses 2 keyboardists but are surprisengly not the most dominant aspect of their music and instead ensures the music remains symphonic. A couple of songs are pure Chilean folk but blend beautifully against the more symphonic pieces throughout. Without a question progressive fans will fall off their chair when they hear "La Poderosa Muerte" an 11 mins piece of progressive rock magic. A great album for sure...!

Tracks : 

1. Del Aire al Aire (2:14)
2. La Poderosa Muerte (11:13)
3. Amor Americano (5:15)
4. Aguila Sideral (5:19)
5. Antigua America (5:37)
6. Sube a Nacer Conmigo Hermano (4:48)
7. Final (2:34)

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Artwork included

FRANTIC - CONCEPTION 1971

No wonder they were Frantic, this was a band with a personality crisis. Inspired by Beatlemania, the Frantics, as they were initially known, sprang out of the non-existent Billings, MT music scene. 

Numerous lineup shifts and a move to New Mexico ensued, before the band, then calling themselves Frantic, settled briefly in Oklahoma City in 1966. There they linked up with the Rascals and hit the road, eventually landing in NYC. When it all went south, the group returned to New Mexico before California beckoned. There, Frantic finally landed a deal with Lizard Records, resulting in their debut Conception album. Unfortunately, all those years touring hadn't helped the group develop their own sound, which remained beholden to their many idols, nor had it left them time for songwriting -- only half the set was penned by them. That said, the covers are the most astonishing tracks on the set. The high point is definitely "Hey Joe," built around Kim Sherman's melancholy surf guitar and Jim Haas' cathedral organ. A garage-psych take on the Doors "Little Girl" is different, if nothing else, while "Morning Dew" starts in poppy Jefferson Airplane territory before taking off towards British prog-dom. The Pretty Things' "Midnight to Six Man" gets the ultimate workout as the band bang through garage-psych into

prog rock and British Invasion territory. The Yardbirds don't get covered, but do get an homage on Frantic's own "Scitnarf," featuring Dennis Devlin' rollicking harmonica. Of their own numbers, arguably "Shady Sam," with its Eastern influences and intriguing use of percussion, is the most interesting. It doesn't, however, hold a candle to anything the British prog rock scene was currently unleashing. And that was Frantic's problem: so much great music, so little time to learn and regurgitate it all. Barrelling from boogie to psych, R&B to pop, the group were jacks of all sounds and master of none. Bet they kicked butt live, though.

Tracks : 

1 Baby Shuman, Westlake 
2 Wicked Woman Byfuglin, Sherman 
3 Scitnarf Byfuglin 
4 Hey Joe Roberts, Valente 
5 More of a Man Fergus 
6 Little Girl Morrison 
7 Shady Sam Byfuglin 
8 Her and Her Mountain Devlin, Herman 
9 Morning Dew Dobson 

10 Midnight to six man

Ripped by : evermoreblues
Artwork Included

Wednesday, September 17, 2008

CROME SYRCUS - LOVE CYCLE 1968

Legendary Psychedelic Album From This Seattle Band Who Relocated To San Francisco. Plenty Of Hippy Cliches Here With Quasi-Religious Choral Workings, Meandering Psychedelic Guitar Jams And Orchestral Arrangements. Vaguely Similar In Style And Feel To The Electric Prunes, But Somewhat More Anarchic In Presentation, This Deserves Its Fame As A Footnote Of West Coast Rock History.













Tracks : 

1.TAKE IT LIKE A MAN
2.YOU MADE A CHANGE IN ME
3.CRYSTALS
4.NEVER COME DOWN
5.WOMAN WOMAN
6.LOVE CYCLE

Ripped by : evermoreblues
Artwork included

IAIN MATTHEWS - THE SOUL OF MANY PLACES 1972 - 1974

The Soul of Many Places compiles the best moments from Matthews' recording high point for Elektra (1972-1974). Featuring selections from Valley Hi, Some Days You Eat the Bear..., and Plainsong's The Search for Amelia Earhart, this is the best introduction to Matthews' finest work. The inclusion of non-LP tracks makes this essential for fans as well













Tracks : 

Ol' 55 (Tom Waits)  from  "Some days you eat the bear" 
For the second time (IM)  from "In search of" 
Keep on sailing (IM)  from "Some days you eat the bear" 
Old man at the mill (trad./IM)  from "Valley hi" 
A wailing goodbye (IM)  from "Some days you eat the bear" 
Shady lies (Richard Thompson)  from "Valley hi" 
I'll fly away (Albert E. Brumley)  from "In search of" 
True story of Amelia Earhart (IM)  from "In search of" 
Seven Bridges Road (Steve Young)  from "Valley hi" 
Biloxi (Jesse Winchester)  from "Some days you eat the bear" 
Propinquity (Michael Nesmith)  from "Valley hi" 
The fault (IM)  from "Some days you eat the bear" 
Even the guiding light (IM)  from "In search of" 
I don't wanna talk about it (Danny Whitten)  from "Some days you eat the bear" 
Louise (Paul Siebel)  from "In search of" 
These days (Jackson Browne)  from "Valley hi" 
Call the tune (IM)  from "In search of" 
Poor ditching boy (Richard Thompson) unreleased song from "Bear"sessions 
You fell through my mind (IM) unreleased b-side from "Valley hi"sessions 


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Artwork included

Tuesday, September 16, 2008

BERT JANSCH - MOONSHINE

This is one of many of Bert's 'best' albums.. and there are a few of those but every track (almost) is a classic example of his unique treatment of tone and key, and an evocative, dark, brooding style which completely sums up the traditional song in raw human terms. No one else can deal with the pain of love lost, anguish, revenge, and folklore mystery as Bert can.

Having a natural affinity for his invented and almost atonal tunings, and a similarly gravel edged vocal style, I still however struggle to get anywhere near this good.Bert constantly amazes and the tracks here are wonderfully dark, full of mystery myth and adventure.. and he is very much at his mature best here.. a classic album. Bert has an effortless and distinctive guitar style, which many have admired, and in acoustic terms he is unrivalled in this dark traditional genre. He even manages to make something completely different out of the ballad-ish First Time Ever I Saw Your Face treating it to a tuning and timing that only Bert could come up with, reminiscent of his version of Blackwater Side, same as he does on a later album with Heartbreak Hotel !

Tracks :

1. Yarrow - Pentangle
2. Brought With The Rain
3. The January Man
4. Night Time Blues
5. Moonshine
6. The First Time Ever I Saw Your Face
7. Rambleaway
8. Twa Corbies
9. Oh My Father

Link :
http://rapidshare.com/files/145867501/Bert_Jansch_-_Moonshine.rar

Ripped by : Evermoreblues.blogspot.com
Artwork included

NARNIA - ASLAN IS NOT A TAME LION

I couldn't find any info about this band. I know that it's an English band with A folk rock touch in their music. Their singer Pauline Filby recorded a solo album before joining the band.  Worth to hear.
















Tracks : 

1. You'd Better Believe It
2. Muddy Ground
3. The Juggler
4. Agapé
5. To a Fountain
6. Miracle Of Birth
7. In the Forest
8. Boogie For Narnia
9. Living Water


Band Members : 

Pauline Filby - Vocals
John Russell - Electric Guitar, Acoustic Guitar, Recorder, Vocals
Tim Hatwell - Bass, Acoustic Guitar
Peter Banks - Keyboards, Acoustic Guitar
Kenneth "Ginger" Dixon - Drums, Percussion, Vocals

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Artwork included

THE PENGUIN CAFE ORCHESTRA - MUSIC FROM PENGUIN CAFE

A unique and strange record, even by the standards of the pan-musical Penguin Café Orchesta, 'Music from the Penguin Café' was originally released on Brian Eno's 'Obscure' record label in the mid-seventies, by mail order only.

'MFTPC' is hard to describe, and very few retrospectives of the group's career (sadly, leader Simon Jeffes died in 1997) give this more than a passing mention, as it's almost beyond criticism - a totally self-contained universe of music, mixing primitive electronics, Brian Eno-style ambient, classical and folk to form a side-step into a timeless, alien environment. Surreal and dreamlike, it has a very distinctive 'live' sound, with birdsong faintly audible in the background of some of the tracks. Imagine Michael Nyman's wiggiest moments, as produced by Brian Eno's second assistant tape operator, and you're half-way there.

After this (and the similar follow-up, 'Penguin Café Orchestra') the PCO settled down and become much more conservative - their later work is tuneful, folky, and much less experimental.


Tracks : 

1. Penguin Cafe Single

2. From The Colonies

3. In A Sydney Motel

4. Surface Tension

5. Milk

 6. Coronation

7. Giles Farnaby's Dream

8. Pigtail

9. The Sound Of Someone You Love Who's

    Going Away And It Doesn't Matter  

10. Hugebaby

11. Chartered Flight


Link: http://rapidshare.com/files/145814559/Penguin_cafe_orchestra__-_music_from_the_penguin_cafe.rar

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Artwork Included

ACID - ACID

German hard rock band (krautrock) , a very good cover of J.J Cale's After Midnight. A very Obscure Band.









Tracks : 

After Midnight
Midnight Queen
Tumbling Line - a Rolling Stone
Your Sweet Love
Six to Seven
Hard Rockin' Band
Hey Freddy
On a Sunny Day
Blind Man


Ripped by : Evermoreblues.com
Artwork Included

Monday, September 15, 2008

ZZ TOP - RIO GRANDE MUD

Rio Grande Mud 
is the second album by American blues-rock band ZZ Top, released in 1972



















Tracks :

  1. "Francine" (Gibbons, Kenny Cordray, Steve Perron) – 3:33
  2. "Just Got Paid" (Gibbons, Bill Ham) – 4:49
  3. "Mushmouth Shoutin'" (Gibbons, Ham) – 3:41
  4. "Ko Ko Blue" (Gibbons, Dusty HillFrank Beard) – 4:56
  5. "Chevrolet" (Gibbons) – 3:47
  6. "Apologies to Pearly" (Gibbons, Hill, Beard, Ham) – 2:39
    • Instrumental
  7. "Bar-B-Q" (Gibbons, Ham) – 3:34
  8. "Sure Got Cold After the Rain Fell" (Gibbons) – 6:49
  9. "Whiskey'n Mama" (Gibbons, Hill, Beard, Ham) – 3:20
  10. "Down Brownie" (Gibbons) – 2:53

Band members :


Additional personnel :


Artwork Included

LEONARD COHEN - SONGS OF LEONARD COHEN

Songs of Leonard Cohen is the debut album of Canadian musician Leonard Cohen.

It depicted the future way of his career, with less success in the United States and far better in Europe, reaching #83 on the Billboard chart but achieving gold status only in 1989, while it reached #13 in UK and spent nearly a year and a half in the UK album charts.

Cohen's lonely and all-too-human songs were informed by his literate approach, part and parcel to a burgeoningsinger/songwriter movement in popular music. Seen by later critics as a reaction against the psychedelic band-oriented styles (as were the country-rock developments of 1968 and 1969) enjoying a vogue in 1967, determining whether indeed the singer-songwriters were 'reacting against' the baroque tapestries of Sgt. Pepper or the San Francisco bands is problematic. Instigated by the work of Bob Dylan, singer-songwriters appeared to be folk singers on the surface, but were not allied to the folk movement's politics or repertoire, instead performing original material in styles at times reminiscent of the folk singers of the late 1950s and early 1960s. Songs of Leonard Cohen was one of the first in this new sub-genre, along with the debut albums of Laura NyroTim BuckleyNeil Young, and Joni Mitchell, propelling the approach to an eventual position of dominance in the early 1970s. Judy Collins, one of the first of the 'traditional' folk singers to champion new writers such as Mitchell and Cohen, along with actor Noel Harrison previously had hits performing the song "Suzanne" (in 1966 and 1967 respectively).

Cohen and John Simon, producer and musical director, managed to give the album a distinct sound while also relying on typical sixties effects such as instruments panning from channel to channel. Although Cohen was granted much freedom in the recording process, they did not always agree on how the record should be mixed. Finally, Simon departed for his Christmas holiday and left the final mix to the artist himself. In a 2001 interview Cohen told Britishmusic magazine Mojo: "We did have a falling out over the song "Suzanne." He wanted a heavy piano syncopated and maybe drums and I didn't want drums on any of my songs, so that was a bone of contention."

On some of the tracks Cohen was backed by strings, the band Kaleidoscope and Nancy Priddy's vocals. The original producer was John Hammond, who signed Cohen to Columbia, but he was replaced by Simon because of health problems.

"Suzanne", which begins and ends as an ode to a "half-crazy" woman capable of personal connection, contains an unconventional discussion of Jesus in the second verse which has been removed in at least one cover of the song, "Suzanne" was ranked 41 on Pitchfork Media's 'Top 200 Songs of the 1960s'. The track "So Long, Marianne" was ranked 190 on Pitchfork Media's 'Top 200 Songs of the 1960s'.

Three of the album's songs, "Winter Lady," "The Stranger Song," and "Sisters of Mercy," were used in the 1971 Robert Altman film McCabe & Mrs. Miller.

Songs of Leonard Cohen was released on CD in 1989, while a digipak edition was released in some European countries in 2003. A remastered version, with bonus tracks, was released in the United States on April 242007, and in Japan on June 202007. The Japanese version was a limited edition replica of the original record album cover with lyric card insert.

On the vinyl and remastered versions is a picture of Saint Bernadette of Lourdes[1] in a fire looking towards heaven. According to the liner notes, apparently Cohen had collected the picture when he was much younger.


Tracks:

01. Suzanne (3:49)
02. Master Song (5:58)
03. Winter Lady (2:18)
04. The Stranger Song (5:07)
05. Sisters Of Mercy (3:35)
06. So Long, Marianne (5:41)
09. Teachers (3:02)


Link : http://rapidshare.com/files/145601779/Songs_Of_Leonard_Cohen.rar

Artwork included

Sunday, September 14, 2008

WAPASSOU - MESSE EN RE MINEOUR

WAPASSOU is one of the most original French Progressive rock bands ! Recorded in 1974, the eponymous album of keyboardist Freddy BRUA and friends shows a music in the same category as the first PINK FLOYD, AMON DL II, CZAR or ASH RA TEMPEL albums. We can find here some throbbing and varied melodies. The numerous flute, guitar, clarinet and sitar lines are an ideal counterpart to a true rock feeling. It also includes some guests among which Benoit MOERLEN at the percussions, also coming from Strasbourg. As a bonus, the Musea reissue includes two tracks originally issued as singles. On the following albums, WAPASSOU reaffirmed their originality: the formula is then based on keyboards, violin and guitar combinations and structures. BACH and WAGNER seem to be the obvious references here. "Salammb" (1977) was inspired by the works of Gustave FLAUBERT. The enchanting ambiences develop along repetitive organ and violin sequences, which give this music a kind of dark solemnity and symphonicism. Not to be missed!






Link : http://rapidshare.com/files/145260483/WAPASSOU_-_MESSE_EN_R_MINEUR.rar
Artwork included ( Home made back cover)

Saturday, September 13, 2008

WARHORSE - RED SEA

Impressive second album by the highly talented if flawed Warhorse, a heavy progressive dynamo that threw together everything from Creedence, Zeppelin, and the Allmans to Tull, Wakeman, and ELP. There is also a Deep Purple connection as bassist Nick Simper was an early Purple bandmember. Much of the singing is not the best and the session would have benefited immensely from a Rod Stewart or even a Joe Cocker, but those vocalists were undoubtedly busy (as was Rick Wakeman evidently, as he failed to appear at Warhorse rehearsals so often he was replaced on keys by Frank Wilson) and this group did, as all struggling musicians do, the best with what they could find.

The title rocks with tough organ from Wilson, Simper and drummer Mac Poole's (later of Gong) firm groove, Peter Parks' sweet guitar harmonies and Ashley Holt's strained moaning. 'Back in Time' follows-up in stride, Holt's primal scream serving well and a reasonable guitar break from Parks culminating in a psych jam. The commercial 'Confident But Wrong' is typical but good Rhythm n' Blues with an organ interlude, but the soggy ballad 'Feeling Better' disappoints and 'Sibila' is classic early stoner rock with more sweet guitars. 'Mouthpiece' redeems them with a fabulous display of each player's abilities.

Why the band failed to take off in the way they might have is debated; bad timing, not enough promotion or record company support... but considering the period [how's this for an interesting perspective from Philip S. Walker's notes; "...Heavy Rock as a style grew out of Progressive Rock sometime in the early 1970s. The trend setters were Deep Purple and Black Sabbath"] 'Red Sea' may just not have been competitive or distinct enough an offering. But a very good prog album is in there somewhere and if you gravitate to this sort of early 70s amalgam of semi-classical organ power and gritty hard rockin', Warhorse were one of the most promising if unfulfilled groups of that era. Five extra demo cuts and a live track are included on the 1999 reissue.

Tracks :

1. Red Sea (4:20)
2. Back In Time (7:49)
3. Confident But Wrong (4:46)
4. Feeling Better (5:33)
5. Sybilla (5:33)
6. Mouthpiece (8:43)
7. I (Who Have Nothing) (5;16)
8. Ritual (Live Version) (4:19)
9. Bad Time (Demo) (4:40)
10. She Was My Friend (Demo) (4:55)
11. Gypsy Dancer (Demo) (4:08)
12. House Of Dolls (Demo) (4:19)
13. Standing Right Behind You (Demo) (4:35)

Line-up/Musicians

- Ashley Holt / vocals
- Ged Peck / guitar
- Mac Poole / drums
- Nick Simper / bass
- Frank Wilson / keyboards, piano
- Peter Parker / guitar

LP Vertigo 6360 066 / LP Thunderbolt THBL 010 (1984) / CD Repertoire RR 4056-CX (1990)

Link : http://rapidshare.com/files/144954469/Warhorse_-_Red_sea.rar

Ripped by: Evermoreblues.blogspot.com
Artwork included

THE SHIVER - WALPURGIS

Reissue of rare 1969 psychedelic and blues-rock from Switzerland. Very varied in musical styles. With three very rare additional tracks, two taken from a festival compilation, the third one from a metal acetate from 1968. Cover artwork by H.R. Giger.

The Shiver are for sure the most renowned psychedelic band of Switzerland. Their one and only LP "Walpurgis" is legendary and hardly affordable. So, evidently, a lot of bootleg versions appeared on the market over the years, but all of them very poorly done. The CD on Garden of Delights is produced, as usual, with a detailed band story, a lot of illustrations, a detailed discography inclusive label and cover repros, and, last but not least, three bonus tracks. Two of those are taken from the very rare compilation "1. Schweizer Rhythm and Blues Festival". The early version of "Repent Walpurgis" comes from a so-called split single from 1968, where you can find The Etc on its flip side. Thus, the complete released works of The Shiver can be found on this CD. The fold-out cover artwork designed by H.R. Giger was taken over unchanged.


Tracks :


  1. Repent walpurgis

  2. Ode to the salvation army

  3. Leave this man alone

  4. What's wrong about the blues

  5. Hey Mr. holy man

  6. Don't let me be misunderstood

  7. No time

  8. The peddle


Link : http://rapidshare.com/files/144955808/The_Shiver_Walpurgis.rar

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Artwork Included

Friday, September 12, 2008

[BY REQUEST] JO JO GUNNE - SO... WHERE'S THE SHOW

After the erratic and self-consciously weird Jumpin' the Gunne, this album is a return to form. More than that, actually -- the replacement of founding guitarist Matt Andes with John Stahely resulted in a tighter, more focused, and generally more interesting band than ever before. Jo Jo Gunne was originally formed to be, in Jay Ferguson's phrase, "a hard-ass rock band," and on So...Where's the Show they finally were one. Ferguson responded to the harder edge by abandoning the synthesizer in favor of a jazzy piano sound, an inspired move under the circumstances. The combination enlivens even the dud songs; "I'm Your Shoe" starts as a pedestrian slow-grind, but has an incredible instrumental break in which the whole band rocks hard and fast, then drops out suddenly to let Ferguson take a wonderful and delicate piano solo. The element of surprise gets you the first time, the brilliant playing every time afterward. When the band actually takes on a song with a half-decent hook all the way through, the results are splendid. The title cut, "She Said Allright," and "Falling Angel" are all winners, and there isn't a single track that is actually a dud. If it was inevitable that Jo Jo Gunne was going to break up, at least they left one consistently good album behind. 

Tracks :

Where Is the Show?
I'm Your Shoe
Single Man
She Said Allright
S&M Blvd.
Falling Angel
Big, Busted Bombshell from Bermuda
Into My Life
Around the World


Artwork Included

[BY REQUEST] JO JO GUNNE - JO JO GUNNE

From the ashes of the multifaceted jazz/psych/rock combo Spirit roseJo Jo Gunne. The band's personnel included Jay Ferguson(keyboards/lead vocals), Mark Andes (bass/vocals), his brother Matthew Andes (guitar/vocals), and Curly Smith (drums/vocals). Their self-titled debut would be the only release from this lineup as well as arguably the strongest of the four efforts to bear the Jo Jo Gunne moniker. Commencing with the upbeat pop of "Run Run Run," this album builds upon Ferguson's well-established melodic tradition, which is immeasurably enhanced by the power trio's aggressive instrumentation and arrangements. Sides such as "Shake That Fat," "I Make Love," and "99 Days" epitomize the heavy boogie rock of the early '70s. While Matthew Andes' contributions are a far cry from the flashy fretwork of Jimmy Page, he ably manages some solid leads and equally memorable riffs, such as the catchy introduction to "Babylon" or the laid-back "Flying Home" -- which could be mistaken for a long-lostOutlaws or Lynyrd Skynyrd tune. The band's versatility is continually evident throughout, with the funky and soulful "Academy Award" suggesting the influence of Little Feat. The languid propulsion of "Take It Easy" -- which shouldn't be confused with the Jackson Browne composition -- develops nicely into a midtempo groover that is again driven by Andes' fluid guitar solos. Although Jo Jo Gunne would issue another three long-players, they would each feature a slightly different personnel, with Smith being the first to jump ship prior to the band's follow-up, Bite Down Hard (1973). In 2000 both LPs were compiled -- along with a trio of previously unissued bonus tracks from the Jo Jo Gunne (1972) sessions, onto the Asylum Recordings: Jo Jo Gunne + Bite Down Hard (2000) single-CD two-fer. In 2003 both titles also became available (sans bonus tracks) separately from Collectors' Choice Music

Tracks:

Run Run Run
Shake That Fat
Babylon
I Make Love
Barstow Blue Eyes
99 Days
Academy Award
Take It Easy
Flying Home
Sally pine [bonus track]
Rhoda (original demo) [bonus track]
Rivers rising [bonus track]


Artwork Included

LIVING CHICAGO BLUES Vol.4


Label Alligator
Orig Year 1980
Discs 1
Release Date Jul 12, 1991
Studio/Live Studio
Mono/Stereo Stereo
Producer Bruce Iglauer
Recording Time 70 minutes
Personnel Jimmy Jewell - tenor saxophone
Willie Young - tenor saxophone
Category Rock/Pop Albums, Blues CDs, Blues Collections, Chicago Blues, Oldies Collections







Track Listing
1. If I Hadn't Been High - Detroit Junior
2. Some Nerve - Detroit Junior
3. Somebody to Shack - Detroit Junior
4. I Got Money - Detroit Junior
5. Somebody Have Mercy - Luther "Guitar Junior" Johnson
6. Got to Have Money - Luther "Guitar Junior" Johnson
7. Just Like Mama Said - Luther "Guitar Junior" Johnson
8. Look What You Done - Luther "Guitar Junior" Johnson
9. Going Upstairs - Queen Sylvia Embry
10. Blues This Morning - Queen Sylvia Embry
11. Tired of Being Pushed Around - Queen Sylvia Embry
12. Please Let Me Stay - Queen Sylvia Embry
13. Blues For a Real Man - Big Leon Brooks
14. Thirteen Years in Prison - Big Leon Brooks
15. Country Boy - Big Leon Brooks
16. My Life Ain't the Same - Big Leon Brooks
17. I Got News For You - Andrew Brown
18. Morning, Noon and Night - Andrew Brown
19. Two Years - Andrew Brown



Album Notes
Personnel: Detroit Junior: Detroit Junior (piano, vocals), L.C. Roby (guitar), Willie Young (tenor saxophone), Jimmy Jewell (tenor saxophone), Marilyn Love (bass) and Odie Payne Jr. (drums).
Luther "Guitar Junior" Johnson: Luther Johnson Jr. (guitar, vocals), Joe Berson (harmonica), Brian Bisesi (guitar), Joe Wille "Pinetop" Perkins (piano), Calvin Jones (bass) and Willie Smith (drums).
Queen Sylvia Embry: Sylvia Embry (bass, vocals), Buddy Scott (guitar), Sam Good (guitar), Ralph Lapetina (keyboards) and Dino Alvarez (drums).
Big Leon Brooks' Blues Harp Band: Big Leon Brooks (harmonica, vocals), Louis Myers (guitar), and Joe Willie "Pintop" Perkins (piano), Freddie DIxon (bass) and Odie Payne Jr. (drums).
Andrew Brown: Andrew Brown (guitar, vocals), Otis Webster (guitar), Roland Brown (keyboards), Al Lewis (trumpet), Charles Smith (tenor sax), Spurling Banks (bass) and Casey Joney (drums).


Link : http://rapidshare.com/files/144771322/LIVING_CHICAGO_BLUES_vol.4.rar

Ripped by : MAGUS

Full Artwork Included

LIVING CHICAGO BLUES Vol.3



Label Alligator
Orig Year 1980
Discs 1
Release Date Jul 12, 1991
Studio/Live Studio
Mono/Stereo Stereo
Producer Bruce Iglauer
Recording Time 71 minutes
Personnel Phil Guy - guitar
Allen Batts - keyboards
Larry Burton - guitar
Aron Burton - bass and Casey Jones
Category Rock/Pop Albums, Blues CDs, Blues Collections, Chicago Blues, Oldies Collections
Living Chicago Blues Vol. 3 Songs


Track Listing
1. Hard Times - A. C. Reed & The Spark Plugs
2. She's Fine - A. C. Reed & The Spark Plugs
3. Moving Out of the Ghetto - A.C. Reed
4. Going to New York - A.C. Reed/Spark Plugs
5. Big Leg Woman - Scotty & The Rib Tips
6. Careless With Our Love - Scotty/Rib Tips
7. Road Block - Scotty & The Rib Tips
8. Poison Ivy - Scotty & The Rib Tips
9. I Dare You - Carey Bell/Lovie Lee
10. Nobody Know My Troubles - Lovie Lee/Carey Bell
11. Sweet Little Girl - Carey Bell/Lovie Lee
12. Naptown - Carey Bell/Lovie Lee
13. Drown in My Own Tears - Lacy Gibson
14. Crying For My Baby - Lacy Gibson
15. Feel So Bad - Lacy Gibson
16. Wish Me Well - Lacy Gibson
17. Have You Ever Loved a Woman? - Sons Of Blues
18. Berlin Wall - The Sons Of Blues
19. Prisoner of the Blues - The Sons Of Blues



Personnel: A.C. Reed And The Spark Plugs: A.C. Reed (tenor sax, vocals), Larry Burton (guitar), Phil Guy (guitar), Allen Batts (keyboards), Aron Burton (bass) and Casey Jones (drums).
Scotty And The Rib Tips: Buddy Scott (guitar, vocals), Walter Scott

(guitar), Kenneth Scott Jr. (guitar), Reginald Perkins (keyboards), Jerome Scott (bass) and Edmond Earl Farr (drums).

Lovie Lee With Carey Bell: Lovie Lee (piano, vocals), Carey Bell (harmonica), Lurrie Bell (guitar), Eli Murray (guitar), John Ervin (bass) amd Odie Payne Jr. (drums).

Lacy Gibson: Lacy Gibson (guitar, vocals), Sebstian Danchin (guitar), King Solomon (keyboards), Snapper Mitchum (bass) and David Anderson (drums).

The Sons Of Blues: Billy Branch (harmonica, vocals), Lurrie Bell (guitar, vocals), Freddie Dixon (bass) and Jeff Ruffin (drums).


Link : http://rapidshare.com/files/144769431/LIVING_CHICAGO_BLUES_vol.3.rar

Ripped by : MAGUS

Full Artwork Included




[BY REQUEST] FLUTE & VOICE - IMAGINATIONS OF LIGHT/HELLO RABBIT

Hans Brandeis together with Hans Reffert, one of the best guitar players in the Mannheim/Heidelberg area, founded their duo Flute & Voice in spring 1970. The same year they recorded their first record album “Imaginations of Light” which nowadays has become a rare collectors item (traded for 200-400 dollars). In 1973 they recorded a second album, “Hallo Rabbit” which was not published then, because it was not “commercial,” i.e. profitable enough for the major record companies at that time. Hans Brandeis moved to Berlin in 1974 and Flute & Voice stopped playing in 1975.

Last year, finally, a small independent record company in Berlin showed interest in re-publishing the recordings of Flute & Voice. As a result, a CD was released in November 1995 containing both record albums, “Imaginations of Light” and “Hallo Rabbit.” This publication resulted in a renewal of the co-operation of Flute & Voice. They started to rehearse again and recorded another CD, “Drachenlieder” (“Dragon Songs”), which was published in December 1996.

Tracks :

1. Imaginations Of Light (13:15)
2. Thoughts (10:13)
3. Resting Thinking About Time (9:47)
4. Notturno (8:12)
5. Natural Feeling (1:02)
6. Fairies (6:03)
7. Dorle (4:48)
8. Hallo Rabbit (6:56)
9. Scottish Rock (3:48)
10. Little Nemo In Slumberland (4:53)
11. Strike Another Match (4:09)

Line-up/Musicians Hans 'Flute' Reffert / guitar, flute
Hans 'Voice' Brandeis / sitar, guitar

Link :

http://rapidshare.com/files/144619825/1970__Imaginations_Of_Light_-_Hallo_Rabbit_1973.rar

Artwork included ( no back cover )

GRAVY TRAIN - SECOND BIRTH

The misleading title of Gravy Train's third album refers to their migration to a new record label, and the consequent renewal of inspiration. While the band had secured a loyal following, the hope was that their move to Dawn records would lead to the breakthrough which had so far eluded them. Unfortunately, this was not to be the case, and Second birth has gone on to become another albums from the early 70's which collectors search for on vinyl in vain.

The music here is essentially heavy rock with strong prog leanings. The first two tracks Morning coming and Peter have a driving rhythm and powerful organ at their core. Bands such as Uriah Heep and Atomic Rooster come to mind when hearing the vocal harmonies and ambitious arrangements.

The mood takes a sudden and surprising change for September morning news, an acoustic ballad with echoes of US folk rock bands such as The Byrds and Crosby Stills and Nash. On Motorway we move towards the early blues of Jethro Tull, not just through the overt use of flute, but also in terms of the vocal style and instrumental arrangement. The song is an early-ish environmental protest song, which also displays some of band leader Norman Barratt's Christian beliefs.

The longest track on the album Fields and factories continues in a similar theme. At 8½ minutes, the track affords room for some jazz orientated sax by JD Hughes. Strength of a dream takes an unexpected deviation into light acoustic pop, with distorted vocal harmonies and a catchy beat. The song, which was released as a single, has more than a passing resemblance to George Harrison's My sweet lord.

Tolpuddle Episode tells the tale of the martyrs who tried to set up the first trade union and were deported for their troubles. The story is told very literally, with further CSN harmonies on the choruses. The album closes with the seven minute title track, another heavy grinder which weaves it way through a complex arrangement.

The CD bonus track Goodtime girl is a disposable pop boogie which was originally the B side of a single release.

In all, a very enjoyable if rather anonymous effort. Had the band not been up against such formidable peers at the time, Gravy Train may have enjoyed greater success than ultimately they ever did.

Tracks :

1. Morning Coming (6:40)
2. Peter (4:05)
3. September Morning News (5:40)
4. Motorway (5:49)
5. Fields And Factories (8:32)
6. Strength Of A Dream (3:59)
7. Tolpuddle Episode (5:09)
8. Second Birth (6:55)

Total time 46:49

Bonus track
9. Goodtime Girl (4:14)


Line-up :

- Norman Barrett / guitar, lead vocals
- Barry Davenport / drums, percussion (tracks 1,5,7)
- - George Lynon / guitar
- J.D. Hughes / keyboards, vocals, flute, saxes
- Les Williams / bass, vocals
- Russ Caldwell / Drums (Tracks 2,3,4,6,8,9)

Link : http://rapidshare.com/files/144614620/Gravy_Train_second_birth.rar

Ripped by : Evermoreblues.blogspot.com

Artwork Included

Thursday, September 11, 2008

ERIC ANDERSEN - BLUE RIVER


Originally recorded in 1971 and composed during a time of intense creativity, anguish, and physical and mental exhaustion, Eric Andersen's ode to despair and cry for renewal is widely acknowledged to be his masterpiece. Along with Bob Dylan's Blood on the Tracks and Joni Mitchell's Blue, it is a defining moment for the singer/songwriter genre. Andersen delivers these nine country- and gospel-flavored songs as if in a trance; a fragile and flowing analog warmth threads them together. All the airy, spacious lyricism of Norbert Putnam's delicate production is now before the listener, and the musical experience, even for those who know the album well, will be a revelation. The smallest details--Grady Martin's gut-string guitar on "Faithful," Weldon Myrick's steel guitar and Joni Mitchell's intricately phrased harmony on "Blue River," and Farell Morris's barely audible but finely textured vibes on "Florentine"--arise as if for the first time. Columbia has also unearthed two unreleased tracks--a soulful reinterpretation of the early ballad "Come to My Bedside" and a Cajun vamp-up of Hank Williams's "Why Don't You Love Me Like You Used to Do?" If it's a crime that an album this moving ever went out of print, it's also a triumph that it has returned meticulously remastered and elegantly annotated and presented.

Tracks :

Is It Really Love At All
Pearl’s Goodtime Blues
Wind And Sand
Faithful
Blue River (with Joni Mitchell)
Florentine
Sheila
More Often Than Not
Round The Bend
Come To My Bedside
Why Don't You Love Me Like You Used To Do


Ripped by : Evermoreblues.blogspot.com
Artwork included

OLIVER - STANDING STONE


A treat for all those who relish  the sound of psychedelic blues, a form that few, apart from Beefhart and Oliver , have ever satisfactorily mastered. Oliver's hel hounds are on his trail for sure, great slavering paisley-patterned beasts with saucer-sized eyes and claws that catch. Here are dreams and fantasies that are wholly original, pure and surrealistically sublime.



All audible song and notes conceived and uttered or fingered by OLIVER CHAPLIN with a contribution from some smaller winged creatures. Recorded mostly on the farm in Wales during early 1974 within shouting distance of the Standing Stone. Everything was recorded by Oliver directly onto a Teac 4 channel machine using one microphone and/or direct injection guitar – no synthesized sounds. Subsequently mixed by CHRIS CHAPLIN.


Tracks : 

1. Of On A Trek (1:21)
2. Trance (3:50)
3. Flowers On A Hill (2:09)
4. Freezing Cold Like An Icberg (3:49)
5. Royal Flush (3:24)
6. Cat And The Rat (5:32)
7. Instamatic (2:08)
8. Telephone (3:11)
9. Getting Fruity (2:04)
10. Tricycle (1:07)
11. Motorway (3:18)
12. Primrose (2:22)
13. In Vain (2:00)
14. Multiplex (1:07)
15. Orbit Your Factory (4:50)
16. Tok Tic (6:09)
17. Where’s My Motorbike (1:17)


Ripped by : Evermoreblues.blogspot.com
Artwork included

Wednesday, September 10, 2008

STONE THE CROWS - NIAGARA , LIVE IN LONDON ( BOOTLEG)


Rare live album recorded in London , double cd , two concerts, 1971 / 1972.

Stone The Crows!', shouted legendary manager Peter Grant, when he first heard this splendid young Scottish band roaring into action. Although it was the Londoner's favourite Cockney expression, he wasn't a man to be easily impressed. After all, he was the manager of Led Zeppelin, the most successful heavy rock band in history. Yet there was something earthy and appealing about the Crows that excited his enthusiasm and support.

Rock fans too were enthralled by the band, founded by guitarist Leslie Harvey and featuring the passionate vocal style of dynamic singer Maggie Bell. Their blues-based rock was imbued with that extra power and authentic flavour that sprang from their tough Glasgowegian roots.

Every new group expects to conquer the world, and Stone The Crows were no exception. But Maggie Bell and Leslie Harvey had both been working long and hard before their latest venture finally took shape, way back in 1969. They deserved the success that finally came their way.

Tracks :

Cd 1:

158
Keep on rollin'
Bij Jim salter
Mr. Wizard
Don't think twice it's all right
Goin' down
Think

Cd 2:

On the highway
Palace of the king
Penicillin blues
Sunset cowboy
Niagara
Mr.Wizard
I'm not a good time girl
Goin' down

Link :

http://rapidshare.com/files/144157411/S.t.c__cd_1.rar
http://rapidshare.com/files/144158473/S.t.c_cd_2.rar
Track 06 (fixed) :
http://rapidshare.com/files/144605770/06_Track_6.mp3

Ripped by : Evermoreblues.blogspot.com
Artwork included

LINDA THOMPSON - GIVE ME A SAD SONG

Linda Thompson was an aspiring folk singer in the early 70's, when she performed on a Richard Thompson album, soon becoming Richard's wife and musical partner for a series of excellent albums, culminating in the great (and final - for their marriage and parnership) "Shoot Out The Lights. This is a "...wonderful historical collection of previously unreleased demos and rare tracks from Linda Thompson -- one of Britain's finest interpretive singers. Remarkable demos from 1970 recorded with Martin Carthy. Linda's contributions to a very rare album of Brian Patten's poems. Demos written by Richard Thompson for a proposed stage musical from the mid-1970's and some powerful demos with Betsy Cook from the mid-eighties. All in all a collection 'joining-up the dots' of Linda's acclaimed career." Featured are Martin Carthy, Betsy Cook, Gerry Conway, Neil Innes, Graeme Taylor and Richard Thompson.







Tracks :

1 Story of Isaac
2 Down River
3
Fire and Rain
4 From a City Balcony
5
Get Back
6
Sometimes It Happens
7
Embroidered Butterflies
8 After Frost
9
You Missed the Sunflowers at Their Height
10
Restless Boy
11
World Is a Wonderful Place
12 Abandoned
13
Hell, Highwater and Heartache
14
Her Father Was a Sailor
15
When I Mention Love
16
Give Me a Sad Song
17 Aimless Love

Link : http://rapidshare.com/files/144145466/Linda_Thompson.rar

Ripped by : Evermoreblues.blogspot.com
Artwork included




THE EAGLES - FAREWELL TOUR 1 - LIVE IN MELBOURNE


Recorded in high definition in Melbourne, Australia, the concert lasts nearly three hours and packs a punch around every corner. Joe Walsh, Glenn Frey, Don Henley, and Timothy Schmit sit on the stage like old friends, effortlessly pouring out their souls through their music. Unlike their previous recorded live performances, the band members actually look like they're having a good time in front of their audience, embracing the music rather than their fame.











Tracks : 

I n t r o  
T h e   L o n g   R u n  
N e w   K i d   I n   T o w n  
W a s t e d   T i m e  
P e a c e f u l   E a s y   F e e l i n g  
I   C a n ' t   T e l l   Y o u   W h y  
O n e   O f   T h e s e   N i g h t s  
O n e   D a y   A t   A   T i m e  
L y i n '   E y e s  
T h e   B o y s   O f   S u m m e r  
I n   T h e   C i t y  
A l r e a d y   G o n e  
T e q u i l a   S u n r i s e  
L o v e   W i l l   K e e p   U s   A l i v e  
N o   M o r e   C l o u d y   D a y s  
H o l e   I n   T h e   W o r l d  
T a k e   I t   T o   t h e   L i m i t  
Y o u   B e l o n g   T o   T h e   C i t y  
W a l k   A w a y  
S u n s e t   G r i l l  
B a n d   I n t r o d u c t i o n s  
J o e   W a l s h   I n t r o  
L i f e ' s   B e e n   G o o d  
D i r t y   L a u n d r y  
F u n k   # 4 9  
H e a r t a c h e   T o n i g h t  
L i f e   I n   T h e   F a s t   L a n e  
H o t e l   C a l i f o r n i a  
R o c k y   M o u n t a i n   W a y  
A l l   S h e   W a n t s   T o   D o   I s   D a n c e  
T a k e   I t   E a s y  
D e s p e r a d o  

Link : 
http://rapidshare.com/files/144094501/disc_1.rar
http://rapidshare.com/files/144095446/disc_2.rar

Artwork included

Tuesday, September 9, 2008

THE NOVA LOCAL - NOVA 1



The Nova Local was a psychedelic pop band formed in Chapel Hill, North Carolina, in 1964, initially under the name The Shadows. It comprised singer Randy Winburn, guitarists Joe Mendyk and Phil Lambeth, bassist Jim Opton, keyboardist Cam Schinhan and drummer Bill Levasseur. Their single "If You Only Had the Time", released in 1967, was a minor hit in North Carolina. They recorded one album, Nova 1 (released on Decca Records in 1968 in the United States), shortly before disbanding. The album was also released in Canada and in the United Kingdom.According to Opton, the album was the first ever recorded using the Dolby NR system.




Tracks :

1. $5 a Ticket
2. If you only had the time
3. Yascha knew deli intimately
4. A visit from It, the king
5. Tobacco road
6. Hitch hike
7. Morning dew
8. Forgotten man
9. Dear Jimi
10. And I remember
11. John Knight's body

Link : http://rapidshare.com/files/143888750/The_nova_local__nova_1.rar

Ripped by : Evermoreblues.blogspot.com
Artwork Included

HURDY GURDY S/T


Power rock trio (guitar, bass, percussion), that was known as one of the acid rock bands, featuring Claus Bøhling - one of the best guitarists from Scandinavia. He is here also a singer and plays the sitar on Hindu song The Peaceful Open Space. Claus played in Secret Oyster (1972-1977). Later he had his bands Masala Dosa, Claus Bøhling Band and Elektrum.












Tracks :

1
Ride On

Written By - Forne/Bohling
2
The Giant

Written By - Bohling
3
Tell Me Your Name

Written By - Bohling/Forne/Otzen
4
Peacefull Open Spaces

Written By - Otzen/Bohling
5
Babels Tower

Written By - Bohling
6
Spaceman

Written By - Bohling
7
Lost In The Jungle

Written By - Bohling
8
You Can't Go Backwards

Written By - Bohling

Band :

Guitar, Harmonica - Claus Bøhling
Drums, Vocals - Jens Marquard Otzen
Bass - Torben Forne

Link : http://rapidshare.com/files/143886927/Hurdy_Gurdy.rar

Track 08 fixed : http://rapidshare.com/files/144184222/08_you_can_t_go_backwards.mp3

Ripped by : evermoreblues.blogspot.com
Artwork included

COSMIC TRAVELERS - LIVE! AT THE SPRING CRATER CELEBRATION


Ultra-rare album originally released in very limited quantities on the Volcano label in 1972. Recorded live on April 1st, 1972 at the Spring Crater Celebration Diamond Head in Oahu, Hawaii...a Los Angeles based combo of psychedelic blues featuring Joel Christie (Lee Michaels Band), Drake Levin (Paul Revere & The Raiders and Friendsound) and Dale Loyola (Hook)...long jammin' tracks with crazed fuzz guitar solos.










Tracks :

01. Farther Up The Road
02. Move Your Hands

03. Jungle Juice

04. Look At You Look At Me

05. Soul

06. Soul Reprise

Link :
http://rapidshare.com/files/143884481/Cosmic_travelers_at_the_spring_crater.rar

Ripped by : Evermoreblues.blogspot.com
Artwork included

[BY REQUEST] MARC MUNDY - S/T


Many (Mid)East/West crossover albums surfaced during the psychedelic era but none that sound quite like Mundy's. "You'll have a hard time finding another LP to compare with this combination of feeling and sound," Major claims and we couldn't agree more. The emotional effect of Mundy's vocals coupled with his band's irresistable groove is a strange pairing -- you could argue that the two are at odds with each other, but the result is a sound and feel so unique and compelling to our ears, we believe it to be in a class all its own.









Tracks :

1. The Hidden Meaning Of Your Love
2. Our Love Can Never Be
3. How Can I Marry This Language
4. Love Me All The Time
5. The Nights We Spend Together
6. Don't Love Me Anymore
7. The Tragic House
8. I Know Not Where
9. Give Up Your Pride
10. I'm Crying Your Name

Link : http://rapidshare.com/files/143855051/marc_mundy-_st__1971_.rar

Artwork Included

LIVING CHICAGO BLUES Vol.2





Details

Playing Time: 65 min.
Producer: Bruce Iglauer, Richard McLeese
Distributor: Ryko Distribution
Recording Type: Studio
Recording Mode: Stereo
Orig Year 1978
Release Date Jul 12, 1991
Genre: Blues 
Styles: Modern Electric Blues Chicago Blues Electric Chicago Blues Piano Blues Boogie-Woogie Modern Electric Chicago Blues 70's Contemporary Blues





Track Listing
1. Don't Answer the Door - Lonnie Brooks
2. Two Headed Man - Lonnie Brooks Blues
3. Cold, Lonely Nights - Lonnie Brooks
4. Move Over, Little Dog - Lonnie Brooks
5. Would You, Baby - Johnny "Big Moose" Walker
6. Worry, Worry - Johnny "Big Moose" Walker
7. Sunnyland Blues - Johnny "Big Moose" Walker
8. Cry, Cry Darling - Johnny "Big Moose" Walker
9. Stranded on the Highway - Magic Slim/Teardrops
10. Dirty Mother For You - Magic Slim/Teardrops
11. Spider in My Stew - Magic Slim/Teardrops
12. Don't Say That No More - Magic Slim/Teardrops
13. Take It Easy, Baby - Pinetop Perkins
14. Blues After Hours - Pinetop Perkins
15. Little Angel Child - Pinetop Perkins
16. How Much More Long - Pinetop Perkins






Back in the mid-sixties, Vanguard issued a series of three albums called Chicago/The Blues/Today!, produced by Sam Charters. In retrospect, most of the performances weren't really exceptional—Johnny Shines. Walter Horton, Johnny Young, Junior Wells and Otis Rush have since made better recordings—but when these LPs appeared, they were a revelation. Because here was evidence of a blues tradition, rooted in the Deep South, that not only lived but thrived in Chicago's cold, windswept South and West Side ghettos. The old-timers were taking care of business, and some impressive younger talents were coming along, too.

Many people assumed in 1965 that the blues must be dying out in Chicago. Many more people would probably make that assumption in 1979, but Alligator's three-record Living Chicago Blues proves them wrong. Produced by Bruce Iglauer and Richard McLeese over a period of several months and programmed with three groups per album (in explicit homage to the Charters set), Living Chicago Blues is the definitive modern blues collection of the Seventies. And it's a measure of this music's continuing vitality that the most striking performances here come from men who, while they're not exactly youngsters, are still virtually unknown outside the Chicago blues clubs.

Left Hand Frank and Jimmy Johnson, who conspire to make Volume 1 the best single entry in the series, are cases in point. Frank Craig plays the guitar left-handed and upside down. He never recorded under his own name before this session, and still works in Chicago as a sideman, most notably in the past year with Jimmy Rogers and Walter Horton. Craig's playing is whining, distorted and chordal—he uses a four-finge, picking style—and brings to mind some of the most down-home electric blues of the Forties and Fifties. Jimmy Johnson, brother of soul singer Syl Johnson, is a thoroughly modern bluesman with a gospelish voice and a harmonically sophisticated single-string guitar style that's sometimes reminiscent of Otis Rush. These men represent the extremes of modern Chicago blues, and both are simply devastating.

The third bluesman on the LP, Eddie Shaw, is somewhat better known, having been Howlin' Wolf's bandleader and a recording artist on his own (as Eddie Shaw and the Wolf Gang) with Wolf's old band. But Shaw's previous album only hinted at the punch and personality that his five songs deliver here. All in all, Volume 1 is the most satisfying disc of newly recorded blues in many moons.

Volume 2 concentrates on older styles of performance—there's nothing as flashy or modern as Jimmy Johnson. The highlights are four numbers by Carey Bell, who's made several LPs under his own name but has yet to unleash the full range of his talents. His slow tunes, "Woman in Trouble" and "Laundromat Blues," are the deepest songs in the series, with Bell's intimate, almost whispered vocals recalling the second Sonny Boy Williamson in subtle expressivity, if not style. Bell's son, Lurrie, who was only nineteen when this album was made, contributes some wonderfully sensitive guitar fills. The uptempo cuts really rock, and Carey Bell plays terrific harmonica solos.

Though Magic Slim and the Teardrops lack Bell's steadiness, their "Stranded on the Highway" is a fine traveling blues, and "Dirty Mother for You" takes advantage of modern mores to get some hoary blues scatology on wax. Johnny "Big Moose" Walker is a storming barrelhouse pianist, but he should have let guitarist Louis Myers take a couple of the vocals. Walker just isn't much of a singer, and that weakens an otherwise enjoyable set.

Lonnie Brooks, who used to make records for Louisiana's Goldband label as Guitar Jr., is the surprise of the series. His music is witty, soulful and ferociously energetic, brimming with novel harmonic turnarounds, committed vocals and simply astonishing guitar work. He shares Volume 3 with Pinetop Perkins (the veteran blues pianist now with the Muddy Waters Band), who romps through an infectious, atmospheric program of down-South blues and boogie, and a group called the S.O.B. Band. (In this case, S.O.B. stands for Sons of the Blues.)

The S.O.B.s—all in their twenties or younger—include Willie Dixon's son, Freddie, and once again, Lurrie Bell. Bell is already an eloquent blues guitarist, with a feel and sound of his own, but harmonica man Billy Branch sings like a white blues imitator (he's black but grew up in California). The band plays solid music and certainly offers some hope for the long-range future of blues in Chicago. But blues is the voice of experience, and these musicians are going to have to live awhile longer before they can match the magic that Left Hand Frank, Jimmy Johnson, Carey Bell and Lonnie Brooks are still creating daily.

The sound quality and musical consistency of Living Chicago Blues puts the earlier Vanguard set to shame. These albums shouldn't be missed. If your store doesn't stock them, you might want to inquire directly: Alligator Records, Box 60234, Chicago, Illinois 60234. (RS 292)

ROBERT PALMER

Link : http://rapidshare.com/files/143851373/LIVING_CHICAGO_BLUES_vol.2.rar

Ripped by : MAGUS

Full Artwork Included


Sunday, September 7, 2008

WILLIE DIXON - I AM THE BLUES


Originally released in 1970, this disc has the legendary songwriter singing nine of his classics as his hand-picked Chicago band makes the changes. Dixon's nothing special, even if he is the blues personified, since his dryly charming voice lacks tonal inflections and his way with rhythm is less than fluent. Whatever glimmers of expressivity these performances have are due to harp player Carey Bell. In spite of Mobile Fidelity's exemplary sound technology, the instruments at the original session sound like mysterious things thumping on the roof in the dead of night.









Tracks :

1. Back Door Man
2. I Can't Quit You, Baby
3. The Seventh Son
4. Spoonful
5. I Ain't Superstitious
6. You Shook Me Listen
7. I'm Your Hoochie Coochie Man
8. The Little Red Rooster

9. The Same Thing

Link:
http://rapidshare.com/files/143393906/Willie_Dixon_-_I_Am_The_Blues__1970_.rar

Ripped by : Evermoreblues.blogspot.com
Artwork Included

JOHN RENBOURN & ROBIN WILLIAMSON - WHEEL OF FORTUNE

In 1993, ex-Pentangle leader John Renbourn and ex-Incredible String Band leader Robin Williamson toured together, cleverly billing themselves as the Impenetrable String Tangle. The live WHEEL OF FORTUNE captures the spirit of that tour, showing how well the two multi-instrumentalists mesh together. Williamson's fascination for obscure early instruments like the Celtic harp gives an authentic feeling to Renbourn's medieval melodies, while Renbourn's extraordinary guitar playing grounds Williamson's flights of fancy. Those unfamiliar with the Incredible String Band should be aware that Williamson has a voice on which there is no middle ground. You'll either love it or hate it. That caveat aside, any fan of traditional British folk should find WHEEL OF FORTUNE a good-humored delight.









Tracks :

1. South Wind/Blarney Pilgrim
2. The Curragh Of Kildare/Milliner's Daughter
3. Bunyan's Hymn/I Saw Three Ships/English Dance
4. The Lights Of Sweet Anne's
5. The Snows
6. Finn And The Old Man's House (story)
7. Matt Highland
8. Little Niles
9. The Rocks Of Bawn
10. Lindsay
11. Port Patrick
12. Wheel Of Fortune


Link:http://rapidshare.com/files/143411221/john_renbourn___robin_williamson_wheel_of_fortune.rar

Ripped by : Evermoreblues.blogspot.com
Artwork Included

KHAZAD DOOM - ENCORE


The first two tracks on the Encore album are The Laymen songs (The Laymen were the precursor of Khazad Doom). The opening track Cherry Town is laid back, with a rolling bass line and harmonies. The guitar swings; the bass walks simply and pleasingly; the vocals slide over the harmonies, which last the duration of the song. "Cherry Town" makes me smile.

The second and last Laymen track is Steve Yates' Love Which We Share Among Us. The music is less lyrical, but punchier than Cherry Town. There are some pleasing chord progressions to savour.

The Laymen songs set a cheerful, fanciful foundation for the slightly darker, richer compositions of Khazad Doom.

The first song attributed to Khazad Doom is amazing. The Hunters (Eadon) kicks off with a gentle, restrained instrumental lead into a brief chant. From there the song builds up, slows and builds in waves. The song makes you expect anything can happen: it builds up, then, just as you think it will boil over, it transiently cools again, and moves into an organ instrumental. I love that instrumental. It seems to be holding back great power, then losing grip, unleashes as the tempo quickens. The Hunters is a twenty-five minute song of three parts. There is plenty of Yates' organ work, but the organ is not overwhelming, as it is in The Doors. Then the organ gives way and the sound moves on to something totally different, including a fleeting, gentle guitar riff that is reminiscent of late Pink Floyd. The melodies are truly excellent. The lyrics rage hotly against the hunters of wolves and the expressive, raw vocals range from gruff screaming to calm and heartbreaking. "The Hunters" is a masterpiece that crucifies the heart.

Now we hit Narcissus (Eadon, Sievers, Yates, Hilkin): harmonic vocals well up to a manic summit, then the song sits back and lets loose. This is exuberant stuff that would be a blast to sing along very loudly to in a McLaren F1 on a lonely Italian road.

In This World (Yates) is haunting, I love this song. Listening to this, I have to ponder that violins, (and perhaps other classical instruments) are woefully underused in pop. "Nothing to fear" (music by Steve Yates, words by the band) - like several tracks on Encore, by both Yates and Eadon, sounds vaguely inspired by the Beatles.

Excerpts from Uncle Gilroy's Crazy Son words and music by Jack Eadon. This song kicks off with a counterpointed chant that is accompanied by a stamping percussion. The song fades away in an anticlimactic instrumental. It would have been much more interesting to see if the songwriter could have developed the harmonies and pushed this harder. It is excellent but, alas, too brief.

The second epic song in Encore is Stanley's Visit to Kerkle Morff (Eadon). This abstract, operatic adventure about a dreamy inventor with a desire to fly takes off brilliantly. Then, when it arrives, the chorus is catchy, TOO catchy! It is the type of hook that can end up replaying in your head for hours. There is some inspired drumming about three minutes in, then the song heads off on a tangent of harmonies that are drowned out by an overly twee icing of organ. Seven minutes in, the song changes track again, just as it gets promising. There are moments of genius, but... towards the end the music is increasingly intertwined by bursts of a crowd cheering, whistling and clapping. It's an interesting idea, but after a few listenings the crowd noises are a small fly in an excellent ointment, just as applause scars many a live album. (Encore is not a live album, incidentally). It is a fine, extremely likeable piece, but with a few tweaks, Stanley's Visit to Kerkle Morff could have been mind blowing. But that's easy to say.

Can't Find Love Alone (Eadon) is energetic but lacks the magic of Eadon's best. "Dirt" is a picturesque, jazzy instrumental by Eadon and Yates, a paragon of laid back, lingering whimsy.

The next two songs, Paper Bus and Frozen Faces, written by Yates, do not blend with the rest of the CD. "Paper Bus" has great harmonies, producing an unforced, barren beauty, a fantastic piece of song writing. Frozen Faces is less successful: the angst felt forced where it should have been heartfelt, but this song is growing on me.

Finally, there is a post-Khazad Doom track, Come with me (Eadon, 1978): a beguiling acoustic guitar number that reminds me a bit of a Nick Drake tune (except longer and with more swing). It is a more sophisticated reprise of the smile-inducing, innocent charm that typified the opening track, Cherry Town. In fact Come with me is an atom of perfection.

Overall Impressions
Contrasting the different styles of the two chief songwriters of Khazad Doom, the songs by Eadon are warm, compassionate, romantic, nostalgic and flow with beauty. Yates' songs are colder, darker, earthier and have melancholic depth. To fancifully draw on the lyrics of "Stanley's Visit to Kerkle Morff": Eadon is Stanley, the hippy, creative genius, dreaming of flying, and confounding the disbelievers by floating away amongst the Clouds; and Yates is King John, a fine and noble ally, a sovereign master upon a solid and secure throne. It is easy to imagine that the richness of Khazad Doom stems from the fusion of the two styles, and, as with any admirable band, credit goes to Sievers, and Hilkin. I know it's a cliché, but the idea that the whole is greater than the sum of the parts is rarely truer than when accounting for the alchemy of bands.

There is an unforced manner to Khazad Doom, an aspect to them that is sincere and heartfelt. When contrasted to today's cynical music industry pap, Khazad Doom is summer wine to a thirsty traveller. Khazad Doom's music bears the corrosions of time. The music has admirers, and, as long as it is so, we may know there are pockets of taste, colour and compassion out there.

Incidentally, Jack Eadon wrote a novel about Khazad Doom, Got To Make It (Jack is an author by profession, these days).

I've not presented too many facts about Khazad Doom themselves and their history because the definitive info, more reviews plus details on how to buy Encore, is present on the Khazad Doom website.

Tracks :

1 Cherry Town (As The Laymen) (3:12)
2 Love Wich We Share Among Us (As The Laymen) (2:11)
3 The Prelude (12:18)
4 In The Den (4:32)
5 The Golden Yellow Meadow (6:56)
6 Narcsissus (5:05)
7 In This World (2:42)
8 Nothing To Fear (2:44)
9 Excerpt From Uncle Gillroy´s Crazy Son (2:57)
10 Stanley´s Visit To Kerkle Morrf (12:26)
11 Can´t Find Love Alone (2:50)
12 Dirt (1:50)
13 Paper Bus (4:01)
14 Frozen Faces (3:38)
15 Come With Me (1978) (4:13)

Link : http://rapidshare.com/files/143429059/Khazad_doom_Encore.rar

Ripped by : Evermoreblues.blogspot.com
Artwork Included

CHRIS DE BURGH - SPANISH TRAIN & OTHER STORIES


Chris de Burgh's storytelling prowess comes into fruition on Spanish Train and Other Stories as he carefully grasps the listener's attention with his soft-spoken candor. With songs that are reminiscent of tales told to a young child by his bedside, de Burgh captivates his audience with his serene anecdotes that are enhanced by the music that envelops him. The opening "Spanish Train" is a mysterious yarn about a chess match between God and the Devil, where the victor inherits the soul of a dying train engineer. de Burgh's vocal escalation from serene to flamboyant makes this one of his best songs, as does the marvelous twist at the end of the story. "A Spaceman Came Travelling" has de Burgh blanketing his wispy voice in a tale about the birth of Jesus, only his version substitutes the Star of Bethlehem for an alien visitor who has arrived to reveal a startling message. With "Patricia the Stripper," de Burgh proves that his sense of humor has not escaped him, as the baroque melody and playful banter make this tune one of his most spirited. Both musically appealing and lyrically thought-provoking, it is this style of narrative that causes Spanish Train to be one of his best albums. Even the forlorn tone of the piano in "Lonely Sky" invokes sadness and melancholy with perfection, coupled with de Burgh's vacant air. All the songs on Spanish Train capture de Burgh's flair for singing elegant pieces that are sincerely attractive, all the while illustrating his pliable vocal stylishness.

Tracks :

1,SPANISH TRAIN
2,LONELY SKY
3,THIS SONG FOR YOU
4,PATRICIA THE STRIPPER
5,A SPACEMAN CAME TRAVELING
6,I,M GOING HOME
7,THE PAINTER
8,OLD FRIEND
9,THE TOWER
10, JUST ANOTHER POOR BOY

Link : http://rapidshare.com/files/143425358/Chris_de_Burgh_Spanish_Train.rar

Ripped by : Evermoreblues.blogspot.com
Artwork Included

PETE BROWN & IAN LYNN - PARTY IN THE RAIN