AUM - RESURRECTION 1969

San Francisco act who were a very popular around the city's ballrooms in the late 60's. This their second album is from 1969 and it's a really diverse affair with a mixture of hard rock and psychedelic numbers. The title track is a dreamy epic affair with some great guitar work while a gospel tinge creeps in on "God is Back in Town". This is worthy of investigation. Originally on Bill Graham's Fillmore label.

Tracks :

1. God Is Back In Town
2. Resurrection
3. Only I Know
4. Bye Bye Baby
5. Today & Tomorrow
6. Little Brown Hen
7. Aum
8. Pachuko Boogie

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HARVEST FLIGHT - ONE WAY 1971

Very pro-sounding 1970s Christian hippie folkrock LP with a slicker sound than universally loved Jesus rock monsters like Kristyl et al. Impressive vocal harmonies manage to convey a wide range of emotions within the realm of an elaborate production. Other notable features include typical 70s keyboard wizardry, some good guitar, and intricate Third Estate-style arrangements that occasionally stray into the overambitious. Includes a cover of "One in spirit", rest is group originals. May be too much of a mainstream studio Steely Dan trip for some, but apart from one atypical country track I think it's pretty good. Release year seems to be 1971 but it actually sounds more like 1975-76 to me. Apart from the back cover difference, the original press has a different font on the front cover logo, and the label logo in the left corner instead of the right.



Tracks :

1 - Prologue
2 - Kingdom
3 - Change
4 - One in the Spirit
5 - Share
6 - Country Tune
7 - Joy of Salvation
8 - Truth
9 - Free
10 - Epilogue

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MAGGIE BELL - SUICIDE SAL 1970

In 1975 MAGGIE BELL’S second solo album was released to much critical acclaim having been recorded at RINGO STARR’s Studio, Tittenhurst Park, Ascot, England 'Suicide Sal' was a different sort of album to its
predecessor 'Queen Of The Night' as she had been playing live over the past year and the material had already been “road tested” and she captured on this release more of a 'rockier' live feel.
Fellow label mate JIMMY PAGE of Led Zeppelin even played on one of the tracks.
The release did particularly well in Germany and USA with one reviewer Tom Nolan stating “This LP signals Maggie Bell’s arrival as the fine, powerful singer we had been touted to expect. I have a feeling people will be playing this one for years” Enough said.




Tracks :

1. Wishing Well
2. Suicide Sal
3. I Was In Chains
4. If You Don’t Know
5. What You Got
6. In My Life
7. Comin On Strong
8. Hold On
9. I Saw Him Standing There
10. It’s Been So Long

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OMNIBUS - S/T 1970

Omnibus was Boston based band combining moody westcoast style organ sound with fuzzy psych guitar. The album was recorded in New York and produced by Steve and Eric Nathanson (who were the producers of Boffalongo).















Tracks :

1 Man Song
2 It's All in Your Heart
3 Shake It Off
4 Understand
5 Above Me
6 Den of Sin
7 Boogus Black and Blues
8 Spring
9 Winding Thru Your Heart
10 Harmony
11 Big Daddy Slave
12 Tired of Screamin'

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KEEF HARTLEY BAND - OVERDOG 1971

Together with Colosseum, the Keef Hartley Band of the late 60s, forged jazz and rock music sympathetically to appeal to the UK progressive music scene. Drummer Hartley had already seen vast experience in live performances as Ringo Starr's replacement in Rory Storm And The Hurricanes. When Merseybeat died, Hartley was enlisted by the London based R&B band the Artwoods, whose line-up included future Deep Purple leader Jon Lord. Hartley was present on their only album, "Art Gallery" (now a much sought-after collectors item). He joined John Mayall's Bluesbreakers and was present during one of Mayall’s vintage periods. Both "Crusade" and "Diary Of A Band" highlighted Hartley's economical drumming and faultless timing. The brass-laden instrumental track on John Mayall's "Bare Wires" is titled "Hartley Quits". The good-natured banter between Hartley and his ex-boss continued onto Hartley's strong debut, "Halfbreed". The opening track "Hearts And Flowers" has the voice of Mayall on the telephone officially sacking Hartley, albeit tongue-in-cheek, while the closing track "Sacked" has Hartley dismissing Mayall! The music in-between features some of the best ever late 60s jazz-influenced blues, and the album remains an undiscovered classic. The band for the first album comprised: Miller Anderson, guitar and vocals, the late Gary Thain (b. New Zealand d. 19 March 1976; bass), later with Uriah Heep; Peter Dines (organ) and Spit James (guitar). Later members to join Hartley's fluid lineup included Mick Weaver (aka Wynder K. Frog) organ, Henry Lowther (b. 11 July 1941, Leicester, England; trumpet/violin), Jimmy Jewell (saxophone), Johnny Almond (flute), Jon Hiseman and Harry Beckett. Hartley, often dressed as an American Indian, sometimes soberly, sometimes in full head-dress and war-paint, was a popular attraction on the small club scene. His was one of the few British bands to play the Woodstock Festival, where his critics compared him favourably with Blood Sweat And Tears. "The Battle Of NW6" in 1969 further enhanced his club reputation, although chart success still eluded him. By the time of the third album both Lowther and Jewell had departed, although Hartley always maintained that his band was like a jazz band, in that musicians would come and go and be free to play with other aggregations.


Tracks :


1. You can Choose (Anderson)
2. Plain Talkin' (Anderson)
3. Theme Song (Anderson)
Enroute (Hartley/Thain)
Theme Song-Reprise (Anderson)
4. Overdog (Anderson)
5. Roundabout (Anderson)
6. Imitations from Home (Hartley)
7. We are all the same (Anderson)

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BELLE & SEBASTIAN - FOLD YOUR HAND CHILD, YOU WALK LIKE A PEASANT 2000

Amongst B&S fans and critics alike, the debate over which album is the best could go on and on forever...probably long after the band finally calls it quits. When you've got in one corner the sunshine-soaked "The Boy With the Arab Strap," the solid, yet strangely menacing, "If You're Feeling Sinister" in another and this fantastic culmination of the "Belle and Sebastian sound" in yet another, it's hard to pinpoint one particular album as the best.

What certainly is a tough argument to make may be the most unnecessary. If there's anything that this band is truly good at is being consistent with their sound and their apparent motive for making music. The often-called "twee kids" and their baroque chamber-pop style has virtually been defined by B&S and you can hear it in its glory throughout their discography. They've been paving a new road with excellent LPs and EPs for us loyal fans to enjoy for years ahead. "Unique" is an understatement.

With that said, "Fold Your Hands, Child, You Walk Like a Peasant" only enforces the idea that when Belle and Sebastian are "in the zone," they don't let up. The wide variety found on this particular album (yet still maintaining the light, 60's-ish sound) is irresistible. "The Wrong Girl," for example, may be the most infectious B&S single to date. (Including the single-ridden "Dear Catastrophe Waitress" album!) Tracks like "The Chalet Lines" and "The Model" are classic B&S, yet sound fresh and new like an album truly should.

Though B&S have definitely carved a niche into popular music with their intelligent, yet vibrant and playful, sound, they continue to break ahead into all the nooks and crannies of their style to give us something wonderful to fall in love with...with each and every album. "Fold Your Hands..." is simply another strong (I say strongest!) example of how one band's initiative is too pure and precise to be broken.

Tracks :

1 I Fought In A War
2 Model, The
3 Beyond This Sunrise
4 Waiting For The Moon To Rise
5 Don't Leave The Light On, Baby
6 Wrong Girl, The
7 Chalet Lines, The
8 Nice Day For A Sulk
9 Woman's Realm
10 Family Tree
11 There's Too Much Love

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GYPSY - IN THE GARDEN 1971

This was Gypsy's second album. The song "As Far As You Can See (As Much As You Can Feel)" is a 12 minute epic which is probably their best song from all of their albums. This song also received the most radio airplay from this album.

This was the most collectable Gypsy album up until the time it was released on CD. This album was regularly priced at $25.00 and up in Goldmine magazine, record stores in the midwest, and at record shows. Copies of the vinyl LP in mint condition will still command a significant price. This group has matured greatly with this second album. The basic music is structured much like their first LP, but the sound is more together and the organ, played by Jimmy Walsh, seems to be the focal point of the group's maturity. "As Far As You Can See" is an enchanting education; while the second side of the LP contains one view of paradise entitled "Here in the Garden," and two other explicitly religious tunes.

Tracks :

1. "Around You" – 5:27
2. "Reach Out Your Hand" – 2:33
3. "As Far As You Can See (As Much As You Can Feel)"
(Rosenbaum with intro by Lordan/Walsh) – 12:09
4. "Here in the Garden I" – 6:43
5. "Here in the Garden II" – 3:07
6. "Blind Man" – 3:59
7. "Time Will Make It Better" (Walsh) – 2:53

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THE MANDRAKE MEMORIAL - MEDIUM 1969

Mandrake Memorial's sound didn't change that much between their first and second album, but Medium is definitely a letdown after their fine self-titled debut. Although it retained the solemn vocals and classical-tinged electronic keyboards, as well as some jazz and Indian influences, there was a drift toward a harder rock sound and longer, more meandering songs. It's the compositions that drag the record down the most, as they aren't nearly as tuneful or concise as those on their first release. Too, while much of the material on the first album had a buoyant, soaring quality, there was a bit of a somber, bummed-out feeling on this one, as if the musicians were in regretful repose from exultant flight. The comparison might seem strange, but at times it sounded like the Youngbloods might have if they'd taken their jazzier and more experimental tendencies to more self-consciously progressive ends. There was less emphasis on harmony vocals this time around, too, and Randy Monaco's vocals had a sorrowful quality that sometimes recalled those of Lawrence Hammond from the barely-better-known-than-Mandrake Memorial band Mad River, though Monaco wasn't quite as doleful. All these criticisms make the album seem worse than it was: there's some interesting psychedelic interplay between guitar, keyboard, and vocals, and it's not unpleasant. But it doesn't go anywhere particularly exciting, either. ~ Richie Unterberger, All Music Guide

Tracks :

Snake Charmer
Witness the End/Celebration
Other Side
Last Number
After Pascal
Smokescreen
Barnaby Plum
Cassandra

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RICK SAUCEDO - HEAVEN WAS BLUE 1978

Rick Saucedo is a musician, songwriter, actor, and Elvis tribute artist. Born November 20, 1955 and raised in the city of Chicago, Illinois, Saucedo had an increasing interest in music. He had always appreciated the music of Elvis Presley, but in 1972, one song caught his attention. "Burning Love", a 1972 Elvis hit, was the main catalyst for Saucedo to create a tribute performance to Elvis Presley. At the age of seventeen, Saucedo began performing in nightclubs and bars around Chicago. Upon forming his band, The Ambassadors, Saucedo landed the role of Elvis in the 1978 Broadway musical Elvis-The Legend Lives. Along with Elvis' original backup group, The Jordanaires, Elvis' original drummer, D.J. Fontana, and original backup vocalist Millie Kirkham, Saucedo recreated Elvis' career. Ever since, Saucedo has been credited as one of the original Elvis tribute artists. He has been performing longer than Elvis did and it was his full-time job before people made habits out of impersonating Elvis. Decades later, Saucedo is still considered one of the top tributes to Elvis and has never stopped entertaining. He performs at clubs, restaurants, festivals, theaters, casinos, banquet halls, and more. Saucedo's schedule has him performing at over one hundred places a year.

Tracks :

01 - Reality - 4.25
02 - In My Mind - 4.12
03 - Country Shakin´ History Makin´ - 2.48
04 - Ka Mon Gonna Rock All Night Long - 3.52
05 - Heaven Was Blue - 18.29

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AZTECS - LIVE 1971

Billy Thorpe was Australia ’s musical chameleon. There was pop star pin up Billy, heavy rocking, long haired Billy, space travelling Billy, popular author Billy and revivalist rock Billy just to name a few. Such was the man’s contribution to the Australian music scene. No wonder his sudden death left so many music fans shattered. Everyone felt they knew him, and his music provided the soundtrack to so many Australian lives. No words can really sum up what he meant to Australian rock’n’roll, other than to say that the outpouring of grief and shock at his death was genuine and heartfelt. Australians simply loved Billy Thorpe.

Aztec Music have become the saviours of Australian rock music, consistently preserving a period when Oz rock had emerged as a genuinely original and powerful voice of a nation that was emerging confidently, shaking of the torpor of 23 years of Liberal Party dominance.

The excellent sleeve notes here utilise interviews with Billy Thorpe and Lobby Loyde, which make them all the more valuable, as well as Gil Matthews, Warren Morgan and Paul Wheeler. Conducted in February 2007, they emphasise just how important it is to get these stories recorded. They now serve to give us the definitive last word on this wonderfully colourful time in Australian music.

The music here captures one of those rare moments in rock history. For those who can remember, we can only drool at the lineup this Aztec performance was part of. A bill at Melbourne Town Hall on June 13 1971 also featured Chain, Daddy Cool, the Wild Cherries, La De Das, Healing Force and Lotus! Knowing what a barnstorming show it would be, the Aztecs opted to record their set for an album and TV show. The result is the first half of this powerful disc. Six tracks that capture the Thorpe, Morgan, Matthews and Wheeler as they really sounded, powerful and passionate.

The opening “Somebody Left Me Crying” features Morgan playing the Melbourne Town Hall pipe organ. Morgan had created a special piece to showcase the organ, and the song that emerged has a special place in Aztec history. In the sleeve notes Thorpe claims to have made the song up on the spot as a result of being overwhelmed at the huge sound of the organ as he walked on stage. Matthews disputes this, pointing to the fact that the band knew the chords to play along. Whatever the truth, it’s testament to a sound that was rapidly emerging, and sounds even more impressive on today’s digital sound equipment.

It’s easy to forget that the Aztecs didn’t emerge as instant heroes of the youth movement. Thorpie wasn’t initially a guitarist, and the lineup seesawed as it searched for “the sound”. This concert is seven months before Sunbury, but shows how important the brief Lobby Loyde Aztec period was in allowing Thorpe to move on from his pop star image.

“Time To Live” captures the band emerging as a rock powerhouse, and “Be Bop A Lula” is the link between Thorpe’s late fifties Brisbane rock’n’roll origins and the soon to be iconic Sunbury Aztecs. “Momma” is excitement personified, and features a Gil Matthews (“I’d like to introduce our new drummer”) drum solo to remind you that it was 1971. This is a time capsule, but it stands today as a loud, joyous celebration of rock music. Really, it is the sound of a generation preparing to blow 23 years of conservative dominance away, the Aztecs as the voice of change.

If the CD only contained the Melbourne Town Hall concert it would be easily worth its price, but here the bonus tracks more than double its value. You get the complete A and B sides of the three Havoc singles the band recorded. Although never a singles band, “The Dawn Song”, “Most People I Know” and “Believe It Just Like Me" retain a special place in the hearts of early seventies radio devotees. The B sides also capture the jamming side of the band. The studio version of “Time To Live” presents an opportunity to compare the live and studio sounds of the band directly.

Rounding out the collection is another rarity, a previously unreleased version of “Long Live Rock’n’Roll” recorded live at the Rosebud outdoor festival in 1972. It features the Sunbury Aztecs lineup with Bruce Howard replacing Warren Morgan on keyboards. It’s a fitting end to this unique collection, leading neatly into the Live! At Sunbury release.

This is a fitting requiem for Thorpie – a disc that captures the sound of the band that crystallised what it meant to be young for a generation of Australians. Just one final word: make sure that if you really want to pay tribute to Billy Thorpe, put this on somewhere that you can play it very loud!

Tracks :

Somebody left me crying
Time to live
Be -bop- a-lula
Momma

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Kind of a minor league version of the Doors, Clear Light were a West Coast phenomenon, and although they didn't last too long, were an interesting group. A very good slice of Los Angeles psychedelia, Clear Light were a six-piece band that combined folk, rock, psychedelia, and even a touch of classical to their sound. The end result, though, is a little ponderous and pretentious, but strangely listenable. The big hit off this album (produced by Paul Rothchild and engineered by Bruce Botnick) was "Mr. Blue," a psychedelic folk song written by Tom Paxton. It's over six-minutes long and a bit overbaked, but it does have an odd appeal. The finer moments are guitarist Bob Seal's psychedelic folk-rock songs, namely "With All in Mind" and "They Who Have Nothing." Singer Cliff DeYoung went on to have a successful acting career, bass player Doug Lubahn played on the early Doors albums, Dallas Taylor went on to drum for Crosby, Stills, Nash & Young and John Sebastian, and keyboardist Ralph Schuckett became one of the more popular West Coast session players and arrangers. A lot of talent in a short-lived ensemble. Dated but charming West Coast psychedelia. ~ Matthew Greenwald, All Music Guide

Tracks :


01 Black Roses 2:09
02 Sand 2:38
03 A Child's Smile 1:37
04 Street Singer 3:17
05 The Ballad of Freddie & Larry 1:56
06 With All in Mind 2:58
07 She's Ready to Be Free [bonus track] 1:58
08 Mr. Blue 6:25
09 Think Again 1:37
10 They Who Have Nothing 2:34
11 How Many Days Have Passed 2:24
12 Night Sounds Loud 2:26

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CRAZY HORSE - S/T 1971

Members of this band had already released an album in 1968 as The Rockets, and had appeared on record twice with Young as Crazy Horse.

The core trio from the Rockets, Danny Whitten, Billy Talbot, and Ralph Molina, provided instrumental backing for Young's 1969 album Everybody Knows This Is Nowhere, and performed on some songs from Young's 1970 album After the Gold Rush. During sessions for the latter, they met guitar prodigy Nils Lofgren, and producer/keyboardist Jack Nitzsche of Phil Spector's Wrecking Crew and Rolling Stones fame, also on hand in supportive roles. They meshed, and Crazy Horse expanded into a quartet to back up Young for a short tour in early 1970, and then into a quintet with Lofgren for this album, picking up a contract with Reprise Records after the exposure garnered from Gold Rush.

For the recording of this album in the fall of 1970, they recruited fretboard virtuoso Ry Cooder, who had worked previously with Nitzsche on sessions for the Stones, adding his talents to three tracks. The album contains strong compositions from four principal writers, the fourth being Young, the band covering his "Dance Dance Dance," which had yet to see an official version by Young himself. Songwriter Randy Newman had already performed "Gone Dead Train" on the soundtrack for the 1970 cult film Performance by Donald Cammell and Nicolas Roeg, the Lofgren-penned "Beggar's Day" was covered by Scottish rock band Nazareth on their 1975 best-selling album Hair of the Dog, and a live version of "Downtown," by Whitten and Young, would appear on Young's Tonight's the Night album of 1975. On Neil Young's 2007 vault release Live At the Fillmore East 1970, the song is credited to Whitten alone. The spirit of Whitten hovered over the tour of the same name from 1973, the remaining quartet from this album backing Young on a notoriously bleak round of concerts in the wake of Whitten's death from an overdose in late 1972.

A pity, for Whitten's songs on this album indicated a promising talent. In particular, the ballad "I Don't Want to Talk About It" received a number of cover versions from a variety of artists, among them Rita Coolidge, Everything But the Girl on their Idlewild album of 1988, and Rod Stewart, who had a big hit with the song in the U.K., taken from his 1975 album Atlantic Crossing.

The album was re-released for compact disc on March 22, 1994, as part of the Warner Brothers archive series, produced for compact disc by Lee Herschberg, the engineer on the first pop album recorded completely in the digital medium, Ry Cooder's Bop Till You Drop from 1979. Crazy Horse appeared in its entirety as part of Rhino Handmade's Scratchy compilation from 2005, which also included outtakes from the sessions for this album. That compilation is no longer in print.

Tracks :


1. "Gone Dead Train" (Nitzsche, Titelman) – 4:06
2. "Dance Dance Dance" (Neil Young) – 2:10
3. "Look at All the Things" (Whitten) – 3:13
4. "Beggar's Day" (Lofgren) – 4:28
5. "I Don't Want to Talk About It" (Whitten) – 5:18
6. "Downtown" (Whitten, Young) – 3:14
7. "Carolay" (Nitzsche, Titelman) – 2:52
8. "Dirty, Dirty" (Whitten) – 3:31
9. "Nobody" (Lofgren) – 2:35
10. "I'll Get By" (Whitten) – 3:08
11. "Crow Jane Lady" (Nitzsche) – 4:24

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[BY REQUEST] ATTILA - S/T 1970

Attila was simply a group that came from the ashes of Joel's 1960's band The Hassles, as the only other member of this group was ex-Hassles drummer Jon Small. That's right: Billy Joel and Jon Small, no one else! Billy Joel sticks with Hammond organ and vocals (no piano!), and Jon Small on drums. And this is so far removed from the cheese Joel would later do it's hard to believe! Right away you get blasted with "Wonder Woman" with aggressive hard rock vocals and heavily fuzzed Hammond organ. "California Flash" comes to show the humorous side of Joel, about a stripper who got caught and was arrested. "Revenge Is Sweet", is, as you guess, another really harsh number with some very hostile lyrics about taking revenge. I really love those organ passages. Then comes the two part "Amplifier Fire", the first part is quite jazzy, which demonstrates that Jon Small's drumming is heavily jazz-influenced. There's tons of great organ work influenced by jazz and blues. Then comes the second part which is more brutal, with some psychedelic overtone. Plus I dig those wordless voices! "Rollin' Home" and "Holy Moses" are more ruthlessly agressives piece that are so unbridled that they make the likes of Led Zeppelin, Deep Purple, and Black Sabbath seem like the Moody Blues! "Tear This Castle Down" is a totally wonderful piece, I really like the changes in this piece. Every time I hear this piece, I trip out that a future cheesy artist would do something like this, so different from what you expect him to do! (Too bad Kenny G. never tried anything like this!) "Brain Invasion" is the closing instrumental piece, closer to prog rock territory, bringing to mind The Nice, dominated by jazzy drumming and Hammond organ.

Both All Music Guide and popular opinion will lead you to believe that the Attila album is the worst album ever made. I couldn't disagree more. For one thing I am not a fan of Billy Joel by any stretch of the imagination, and to see him do something as cool as this, I am shocked! Fans of Billy Joel might just want this as a souvenir, fans of Deep Purple, Uriah Heep, and Quatermass would get a kick off this.

Billy Joel himself would want you to forget Attila. He deemed the album "psychedelic bullshit". It was also a bad time in his life (he attempted to take his life). It was the first (and last time) he'd ever try heavy metal, as his solo career went the pop singer/songwriter route that gave him lots of fame and big hits.

Although the original LP was released on Epic and now a major collector's item, it was luckily reissued. I suggest the 1985 BackTrac reissue as it contains the complete album, rather than partial Hassles/Attila material. I don't expect everyone to like this album, many will hate it, but if you fancy Billy Joel going heavy metal and can find it for cheap, get it! Reviewer: Ben Miler

Tracks :

1. Wonder Woman 3:38
2. California Flash 3:32
3. Revenge is Sweet 4:00
4. Amplifier Fire 7:39 (Part I - Godzilla; Part II - March of the Huns)
5. Rollin' Home 4:52
6. Tear This Castle Down 5:49
7. Holy Moses 4:30
8. Brain Invasion 5:41

Link : @

Artwork Included
T

THE ROSE GARDEN - S/T 1968

The Rose Garden's only album is a fair but unmemorable pop-folk-rock record, able in its emulation of the Byrds' 12-string guitar sound with some competent stirring male-female vocal blends. Indeed this contains some of the most blatant mimicry of Roger McGuinn's style that you'll find, without nearly as much of McGuinn's imagination. Far more pop-oriented than the Byrds, the record was also handicapped by the absence of original material; the sole song bearing writing credits of group members, "Flower Town" (on which Kim Fowley also somehow manages to squeeze into the credit line), is in fact an adaptation of the traditional folk song "Portland Town." Big Byrds collectors, though, might want to keep an eye out for this not-too-easy-to-find LP as it contains two Gene Clark songs that never appeared anywhere else, "Till Today" and "Long Time." Neither of these songs are wonderful, but they're okay and better than the rest of the album (save the hit "Next Plane to London"), with "Till Today" bearing a countryish feel not unlike some of the songs on Clark's debut album. In other curious footnotes, three of the tunes were co-written by Pat Vegas, later to rise to fame as part of Redbone, while "Look What You've Done" was co-written by Bob Johnston, who at that time was producing superstars Bob Dylan and Johnny Cash. ~ Richie Unterberger, All Music Guide

Tracks :

01.Next Plane To London
02.I'm Only Second
03.February Sunshine
04.Coins Of Fun
05.Rider
06.She Belongs To Me
07.Flower Tone
08.Till Today
09.Look What You've Done
10.Long Time

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WILD TURKEY - BATTLE HYMN 1971 / TURKEY 1972

In 1971, Glen Cornick took the momentous step of leaving Jethro Tull having played bass on their first three albums: "This Was", "Stand Up", and "Benefit". He left a group that is undoubtedly one of the world's most influential and viable products of seventies rock to face a challenge that most musicians would find daunting.

He left to find the musical freedom he felt he needed to extend his musical creativity. A founder member of Jethro, Glenn had started to write songs that were not compatible with the musical identity of Jethro and rather than remain just playing bass with them, he decided to go his own way.

The decision made, Glenn started to look for the musicians for the band he had in mind. Over a period of three months, he looked at and auditioned a variety of people he'd been recommended. Eventually he chose four. Each of them came from vastly differing backgrounds, but as Wild Turkey, the name he chose for his new band, they have developed a corporate style that has been welded together over the past few months. They rehearsed, talked music and lived together in a farmhouse they rented for a month and then went out on the road. It was Glenn's decision to go out and build a reputation by playing to the club audiences that are instrumental in building a band's following rather than make use of the name and stature he earned within Jethro and rush straightaway into the recording studios to trade on his past.

During the past few months, Wild Turkey have steadily built an ever increasing following among club and college audiences around the country. With Glenn in Wild Turkey are vocalist Gary Pickford-Hopkins, drummer Jeff Jones, rhythm guitarist Jon Blackmore and lead guitarist Alan "Tweke" Lewis.
Gary Pickford-Hopkins, who also plays acoustic guitar, joined Turkey from the now-defunct Eyes of Blue, a highly rated Welsh outfit that won a Melody Maker group contest. The Eyes of Blue were together for five years and during that time Gary's vocals were an important part of their blues-based music. Like Jon Blackmore though, Gary also has his roots in folk music and Wild Turkey's set includes some acoustic numbers that have come about through that shared influence.

Jon Blackmore met Glen Cornick when Jon was playing in a small folk group and played occasional gigs at Glenn's parents' London pub. Glenn was in the audience one night, liked what he heard, and asked Jon to join Turkey.

Jeff Jones and "Tweke" Lewis are young musicians with reputations earned in a variety of groups. Jeff Jones knew Gary from times spent jamming together and, prior to joining Turkey, had been with Man, an experimental Welsh group with a wealth of European existence. Guitarist "Tweke" Lewis was the last member to join. A talented young musician, he was playing in Swansea one night when the rest of Wild Turkey heard him. He was just the guitarist that Glenn had been looking for, they approached him on the spot, told him what they had in mind, and the next day he left his old group and completed the Wild Turkey line up.

Tracks :

BATTLE HYMN
1. Butterfly
2. To The Stars
3. Twelve Streets Of Cobbled
4. Dulwich Fox
5. Easter Psalm
6. Sanctuary
7. One Sole Survivor
8. Gentle Rain
9. Battle Hymn
10. Sentinel

TURKEY
11. Good Old Days
12. Tomorrow?s Friend
13. Universal Man
14. Eternal Mother/The Return
15. Ballard of Chuck Stallion and the Mustangs
16. Street
17. See You Next Tuesday
18. Telephone


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BOOT - BOOT 1972

Their first album is rare and came out on a Texas label, though they hailed from New Port Richey, Florida, and had earlier recorded as The Split Ends. It's basically hard rock with some psychedelic guitar work. Their second album is rather mundane heavy rock.

Jim O'Brock recalls: "Circa 1969, we changed names from The Split Ends to B.O.O.T., an anacronym for 'Blues Of Our Time'. We began playing 80% to 90% original material and began traveling more, playing larger venues. We played with Canned Heat, B.B. King, Neil Diamond, Detroit Wheels, etc. and at the Atlanta Pop Festival and Miami II Pop Festivals. Once we competed with the Allman Brothers in a contest at the University of Florida and won first prize! In Atlanta, Georgia we played with Lynyrd Skynyrd (they opened for us!) and stayed on the road for about four years. During this time we recorded our two albums in Nashville, TN. We seemed to stagnate about that time. I left the band and it broke up. A couple of years later, Mike and Bruce tried to resurrect the name with a couple of new guys, but it didn't last long".

Tracks :

01. Hey little girl
02. Danny's tune
03. Liza brown
04. Andromeda
05. Destruction road
06. Reach out
07. What are the doing to me
08. What you're messing

Link : @

Ripped By : evermoreblues
Artwork Included

AGNES STRANGE - STRANGE FLAVOUR 1975

Long sought after British hard rock ripper finally sees a legit pressing with three bonus tracks. Agnes Strange was a trio that was one part Budgie, one part Status Quo, and one part pub-rock band. Well maybe thats all a bit redundant. If the names Incredible Hog, Leafhound and Human Beast give you damp knickers you need to check this minor classic from 1975 out.

"The forgotten saga of Agnes Strange and their lost album is one bizarre tale. The result of an unlikely joint venture between a major label (RCA) and the Bird’s Next chain of real ale music pubs, the Southampton-based power trio’s one and only album sank without trace in 1975, thanks in large part to the winding down of the band’s bookers, the Dick James Agency.

Now reissued for the first time, it comes with three bonus tracks (the single mix of Give Yourself A Chance and outtakes Motorway Rebel and Strange Flavour), and boasts both UK and European sleeve art. This collector’s item, with its big, warm analogue sound feels like the sort of wholesome fare that once upon a time surfaced on Harvest or Vertigo. Stuck in the no man’s land between the hard rock boom of the late 60s/early 70s and the dawning of punk, and produced by early rock’n’roll devotee Dave Travis, Agnes Strange crank their hearty blue collar mix of heavy rock, blues and rock’n’roll with occasional nods towards Taste, The Groundhogs, Budgie and, in their more boogiefied moments, vintage Quo. Very much one for those who like their rock tough and unfussy, in a full-Englishbreakfast- for-the-ears kind of a way." - Record Collector

Tracks :

1. Give Yourself A Chance
2. Clever Fool
3. Motorway Rebel
4. Travelling
5. Strange Flavour
6. Alberta
7. Loved One
8. Failure
9. Children of the Absurd
10. Odd Man Out
11. Highway Blues
12. Granny Don't Like Rock 'n Roll
13. Interference
14. Give Yourself A Chance

Link : @

Ripped by : evermoreblues
Artwork Included

CARGO - ST 1970-72

This Dutch heavy rock outfit, who operated in the early '70s put out this great album with stupendous stoned guitar workouts / acid jams... Awesome stuff, but this CD also contains 8 additional tracks by the pre-Cargo outfit 'September'... An essential chunk of European rock history and a blast for your ears too!
(Freakemporium)












Tracks :

1 Sail Inside
2 Cross Talking
3 Finding Out
4 Summerfair
5 Choker
6 Lydia Purple
7 Yelly Rose
8 If Mr. Right Comes Along
9 Little Sister
10 Walk on By
11 Run Away
12 One More Chance

Link : Part 1 @ ; Part @ 2

Ripped by : evermoreblues
Artwork Included

FELT - FELT 1971

Felt was formed in Alabama in the late '60s around the talents of Myke Jackson (guitars), Mike Neel (drums), Tommy Gilstrap (bass), Stan Lee (guitars), and Allan Dalrymple (keyboards). The band's self-titled album, released on the small Nasco label in 1971, contains half-a-dozen original songs written for the most part by Jackson. The mostly blues-styled songs on this album are full of great guitar work and contain fine Beatles-esque harmony vocals. While most of this album has a blues feeling to it, some of the songs hint of progressive rock with swirling keyboards, intense drumming, and blistering guitar solos. The album has recently been discovered for its musical excellence and has become a very rare collectors' item. Guitarist Lee would later go on to become a member of punk band the Dickies in the late '70s. This welcome re-release by Akarma Records features a reproduction of the original foldout album graphics in the mini-LP-styled Akarmapack.
(http://allmusic.com/cg/amg.dll?p=amg&sql=10:fvfwxql5ldse)

Tracks :

1 Look at the Sun
2 Now She's Gone
3 Weepin' Mama Blues
4 World
5 Change
6 Destination

Link : @

Ripped by : evermoreblues
Artwork Included

FRATERNITY OF MAN - ST 1968

The short-lived Fraternity of Man is undoubtedly best known for the pro-pot anthem "Don't Bogart Me," which showed up during an unforgettable scene in the genre-defining biker film Easy Rider (1969). The original quintet included an overhaul of the Lowell George-led Factory, featuring Martin Kibbee (bass), Warren Klein (guitar/sitar/tamboura) and Ritchie Heyward (drums/vocals). George split and became a very temporary Mothers of Invention member, while the other three joined up with Freak Out (1966) era Mother Elliot Ingber (guitar). The personnel was completed with the addition of Lawrence "Stash" Wagner (vocals/guitar) and the band recorded its 1968 self-titled release Fraternity of Man. Another Frank Zappa connection could be found in the guise of Tom Wilson, who produced the Mother's earliest studio efforts. As one might anticipate, there are several prominent musical dynamics carried over into the Fraternity of Man from its former incarnation. The stoner wake-n-bake anthem "In the Morning," as well as "Blue Guitar" and "Plastic Rat" retain the psychedelic garage rock that pervaded much of the Factory's sound. The band's variation of Zappa's "Oh No" -- titled "Oh No I Don't Believe It" -- is a gassed-up rocker replete with Ingber's nimble lead fuzz fret work. Those decidedly more belligerent outings are contrasted by the intricate and Baroque qualities of "Wispy Paisley Skies" and the aforementioned steel guitar-driven "Don't Bogart Me." However, the comfortable misfit rockers "Candy Striped Lion's Tail," "Field Day," or the slightly perverse R&B-flavored "Bikini Baby" are among the best sides on the album. The latter was revived on the utterly dismissible dash for cash EP titled X (1995). The Fraternity of Man issued one follow-up, Get It On (1969) for Dot Records, prior to its dissolution in the waning months of the decade.

Lindsay Planer, All Music Guide

Tracks :

In the Morning
Plastic Rat
Don't Bogart Me
Stop Me Citate Me
Bikini Baby
Oh No I Don't Believe It
Wispy Paisley Skies
Field Day
Just Doin' Our Job
Blue Guitar
Last Call for Alcohol
Candy Striped Lion's Tails

Link : @

Ripped by : evermoreblues
Artwork Included

SEX - SEX 1970

Sex was formed by Yves Rousseau (guitar), Robert Trepanier (vocals, bass, flute, harmonica), and Serge Gratton (drums). They released a self-titled album in 1970. The LP features rudimentary hard rock tracks based on heavy blues, a style prevalent in Britain at the time. (In fact, one could describe the album as a cross between Budgie and Black Sabbath.) This strong blues influence could explain it being labeled as "psychedelic" by some. Lyrics are sung in English with a heavy French accent, which was still mostly the case in Quebec, until Dionysos, who played many shows with Sex, broke the trend by singing all in French. Song titles and lyrics are consistent with the group's name, and contain some disturbing themes. Highlights on the album include "Come, Wake Up!" and "Not Yet", both of which were released as a single.

1971 saw the release of a second LP entitled "The End of my Life". Their obsession with the group's name returned with a vengeance, this time producing tracks like "Syphilissia" and an overall concept concerning a young man whose sexual "coming of age" involves heartbreak followed by promiscuity, then terminal infection, and ultimately imminent death. The band added Pierre (Pedro) Ouellette on sax and flute, lending a little more variety to the music. The album opener, "Born to Love", starts off as psych-blues for the first minute, embarking suddenly on a jazz-rock penchant for the next, and bringing in a prog twist for its conclusion. "I'm Starting My Life Today" is an interesting blues-rock venture that was chosen as album single. "Emotions" is not so successful, initially bordering on prog-rock with a frantic sax-and-xylophone intro that recalls Frank Zappa and the Mothers of Invention, but settling immediately thereafter into a rudimentary (though adequately performed) blues. Some tracks can find a distant comparison to post-psych group Blue Öyster Cult. Only the 8-minute title track that closes off the album succeeds in completely breaking past the psychedelic/blues barrier into the realm of the progressive, with enjoyable stylings resembling early Jethro Tull. Like label-mates W.D. Fisher, Sex was managed by Pierre Gravel out of Granby, and both bands' vocals (sung in broken English) detract the listener somewhat from the now dated sounding music. Also, like W.D. Fisher, Sex failed to bridge the gap from the psychedelic 1960's into the progressive realm of the 70's, when true inspiration, originality and musicianship finally exploded in Quebec music.

(http://www.progquebec.com/sex.html)

Tracks :

Scratch my back
Not yet
Doctor
I had to rape her
Come , wake up
Try
Night Symphony
Love is a game

Link : @

Ripped by : evemoreblues
Artwork Included

S VREMENA NA VREME - ST 1975 / MOJ SVET 1977

Belgrade-based semi-acoustic prog folk band S VREMENA NA VREME (Eng. "From Time To Time") was formed 1972, with original line-up consisting of: Miomir Djukic - prim, guitar, vocal; Vojislav Djukic - guitar, vocal; Asim Sarvan - vocal, guitar; and Ljubomir Ninkovic - guitar, vocal. They grew out of an informal assembly of musicians who gathered from time to time in order to record songs and soundtrack for Radio Belgrade broadcast programmes. They also gained reputation as prolific composers and arrangers for numerous TV, radio, film and theatre performances and shows. They were pioneers of introducing traditional folk elements into popular and rock music, utilizing old instruments such as prim or sargija and making crossover between genres. Drummer Nikola Jager became more or less a regular member of the band since their debut album, while many excellent musicians appeared as guests on their studio works. They built a slow but growing reputation releasing several important singles from 1973-78, many of which hit the top charts in the former Yugoslavia. However, their eponymous debut album from 1975 remains as the most successful achievement to date. Following two more releases, a compilation "Moj svet" and a studio album "Paviljon G", the band decided to split up in 1979. The band re-formed in 1993 for several successful concerts, which were followed by a new studio album "Posle kraja" (1995) and a live album "Unplugged" (1997).

Debut album "S vremena na vreme" from 1975 is highly recommended to all prog folk and folk-rock fans as one of the better works from the Yugoslavian prog era of the mid-1970s. It features a mix of acoustic and electric songs with occasional backing sounds of flute, organ and mandolin-related traditional instruments. Arrangements sometimes associate with earlier works of MAGNA CARTA, INCREDIBLE STRING BAND or JETHRO TULL, with harmony vocals resembling SIMON AND GARFUNKEL influences.
by Sead S. Fetahagic

Tracks :

S VREMENA NA VREME

1. Biblijska Tema (3:51)
2. Ko? (3:08)
3. Trazi Mene (2:28)
4. Utociste (2:44)
5. Tema Za Sargiju (1:57)
6. Dalek Sprema Se Put (3:24)
7. Nada (5:05)
8. O Glumcu I Narodu (1:54)
9. Suncana Strana Ulice (2:06)
10. Ostavljam Sve I Idem (3:42)
11. Tema Classica (4:10)


MOJ SVET

Put Putuje Karavan
Kao Vreme Ispred Nas
Čudno Drvo
Tavna Noć
Sunčana Strana Ulice
Jana
Dixie Band
Odisej
I Kad Budem Stariji
Traži Mene
Tema Classica
Moj Svet

Link : @ part 1 ; @ part 2
Ripped by : evermoreblues
Artwork Included

DRUID - TOWARD THE SUN 1975 / FLUID DRUID 1976 Double Cd

Thanks to the fine folks at BGO we can all enjoy these 2 great pieces of prog work at one time. DRUID offer very beautiful and yet sophisticated progressive rock in many ways not unlike YES. DRUID blend complex guitar with symphonic keyboard interplay. Vocals are quite good and fans of the higher pitched male vocal will dig this guy named Dane. Every song is well crafted and offers the listener a nice variety and sound dimension throughout. Remastered version is superb and the speaker seperation is quite good. Highly recommended by this prog lover.
(James Unger) - http://www.progarchives.com/album.asp?id=4701








Tracks :

TOWARD THE SUN

1. Voices
2. Remembering
3. Theme
4. Toward the sun
5. Red carpet for an Autumn
6. Dawn of evening
7. Shangri-la

FLUID DRUID

8. Razor truth
9. Painter's clouds
10. FM 145
11. Nothing but morning
12. Crusade
13. Barnaby
14. Kestrel
15. Left to find
16. The fisherman's friend

Link : @, @

Ripped by : evermoreblues
Artwork Included

AGAMEMNON - PART 1 & 2 1981

Swiss obscure band , similar sound of the German krautrock .


Tracks :

Part 1 - Agamemnon's Youth
Part 2 - Agamemnon , King of Mykene

Link : @

Ripped By : evermoreblues
Artwork Included

BLUE - BLUE 1973

Blue was a British pop/rock group formed in Glasgow, Scotland, in 1973 by Timmy Donald (b. 1946, Bristol, Avon, England) (drums), Ian MacMillan (b. 1947, Paisley, Strathclyde, Scotland) (bass, guitar, vocal), and Hugh Nicholson (b. 1949, Rutherglen, Strathclyde, Scotland) (guitar, vocal, keyboard). Signed to Elton John's Rocket Records label (John also produced them), they released their self-titled debut album, then added Robert "Smiggy" Smith (b. 1946, Kiel, Germany) (guitar) for their second, Life in the Navy. They were then reorganized, with MacMillan and Nicholson remaining and adding Charlie Smith (drums) and David Nicholson (guitar). This lineup scored a U.S. singles chart entry and U.K. Top 40 hit with "Gonna Capture Your Heart" and recorded the third album Another Night Time Flight (1977) and the fourth album Fool's Party (1979), after which Blue broke up. ~ William Ruhlmann, All Music Guide


Tracks :

1 Red Light Song
2 Look Around
3 Someone
4 Sunset Regret
5 Timi's Black Arrow
6 Sitting on a Fence
7 Little Jody
8 Let Me Know
9 I Wish I Could Fly
10 Skye Banana Boat Song
11 The Way Things Are
12 Sunshine or Falling Rain

Link :

Ripped by : evermoreblues
Artwork Included

HELP - SECOND COMING 1971

"This much heavier second album is the one that most collectors know, due to lots of fuzz and wah wah on the guitars. The sparse trio format is the same as on the first album, except that the clean guitar is replaced by distortion and effects. Strangely enough, that makes the sound less full than on the debut. It admittedly sounds pretty cool, but after a few listens it becomes apparent that the songwriting is actually pretty weak, with only two or three songs at a high standard. Worth listening to for those songs, but overall a patchy record.

Tracks :

1. Do You Understand the Words
2. All Day
3. Good Time Music
4. Hold On Child
5. T.C.A.
6. Dear Lord
7. Oh My
8. Power

Link : @

Ripped by : evermoreblues
Artwork Included

GYPSY - S/T 1970

Gypsy is a former American progressive rock band from Minnesota, formed as The Underbeats (1962-1968). Gypsy was the house band at the Whisky a Go Go, West Hollywood, California for about eight months from September 1969 to 1970 and were known in 1970 for their US Billboard charting single "Gypsy Queen Part 1 and 2". Most of Gypsy's music was composed and written by the late guitarist and singer Enrico Rosenbaum. Drummer Bill Lordan went on to play with Sly & the Family Stone and a long career with Robin Trower. Keyboardist James Walsh continued the band in various incarnations as The James Walsh Gypsy. Band.

Tracks :


1. "Gypsy Queen Part I" – 4:21
2. "Gypsy Queen Part II" – 2:33
3. "Man of Reason" (Johnson) – 2:59
4. "Dream If You Can" (Rosenbaum, Epstein) – 2:48
5. "Late December" – 4:12
6. "The Third Eye" (Walsh) – 4:55
7. "Decisions" – 8:16
8. "I Was So Young" – 4:00
9. "Here in My Loneliness" – 3:10
10. "More Time" – 5:35
11. "The Vision" – 7:30
12. "Dead and Gone" – 11:07
13. "Tomorrow is the Last to be Heard" – 5:48

Link : http://rapidshare.com/files/155168772/Gypsy_-_ST_1970.rar

Ripped by : evermoreblues
Artwork Included

MAYPOLE - S/T 1970

Maryland's Maypole, whose sole album, The Real, was recorded in three days, July 1970, and released in early 1971, shortly before their label folded, dooming the album to stillborn status commercially at the time, and collector want list status today. The LP is an ambitious, 50-minute feast of tight harmonies, powerful arrangements, fluid improvisation, and flat out great songs, and serves as a touchstone for twin guitar-driven, West Coast-styled psychedelia, soaring power pop, and blistering hard rock -- some even call it prog -- everyone wants a piece of the Great One. If you've been looking for an LP to complete an imaginary trilogy with S.F. Sorrow and Parachute, then this is your tonic. The stature of Maypole has been muddied by the previous CD reissues, but this LP edition gets it right. Featuring state of the art remastering and pressing, a high quality full color 'tip on' jacket featuring original artwork, and a full color insert loaded with lyrics, photos, and complete historical notes by Maypole founder, Dennis Tobell, this is the closest to 'classic psychedelia' Anopheles Records has delved in to date, and we're glad we didn't settle for something second rate -- Maypole is The Real."

Tracks :

1. Glance At The Past
2. Show Me The Way
3. Henry Stared
4. Change Places
5. Under A Wave
6. Look At Me
7. Johnny
8. Come Back
9. You Were
10. In The Beginning
11. Dozy World
12. Stand Alone

Link : http://rapidshare.com/files/155166718/Maypole_-_ST_1970.rar

Ripped by : evermoreblues
Artwork Included

DEXTER GORDON - LIVE AT CARNEGIE HALL 1978

Dexter Gordon (February 27, 1923–April 25, 1990) was an American jazz tenor saxophonist, and an Academy Award-nominated actor. He is considered one of the first bebop tenor players. A famous photograph by Herman Leonard of Gordon smoking a cigarette during a set at the Royal Roost in New York City in 1948 is one of the more iconic images in the history of jazz.

Gordon's height was 6 feet 5 inches (about 196 cm), and so consequently he was also known as 'Long Tall Dexter'.

Gordon's father, Dr. Frank Gordon, M.D., is one of the first prominent African-Amercian physicians and a graduate from Howard University.

Dexter's maternal grandfather is Captain Edward L. Baker, one of the 5 Medal of Honor winners (9th Cav.) in the Spanish-American War and served in the 9th and 10th Cavalries - in the group known as the Buffalo Soldiers.
Gordon was born and grew up in Los Angeles, where his father was a doctor who counted Duke Ellington and Lionel Hampton among his patients. He played clarinet from the age of 13, before switching to saxophone (initially alto, then tenor) at 15. While still at school, he was playing in bands with such contemporaries as Chico Hamilton and Buddy Collette.[1]

Between 1940 and 1943, Gordon was a member of Lionel Hampton's band, playing in a saxophone section alongside Illinois Jacquet and Marshall Royal. In 1943 he made his first recordings under his own name, alongside Nat Cole and Harry Edison. During 1943-44 he featured in the Louis Armstrong and Fletcher Henderson bands, before joining Billy Eckstine.

By 1945, Gordon had left the Eckstine band and was resident in New York, where he was performing and recording with Charlie Parker, as well as recording under his own name.

Gordon was a virtuoso particularly famous for his titanic saxophone duels with fellow tenorman Wardell Gray, that were a popular live attraction and that were documented in several albums between 1947 and 1952.


Many would characterise Gordon's sound as being 'large' and spacious (a feature partially owed to his big'n'tall physical stature), and his tendency to play behind the beat is discernible. One of his major influences was Lester Young. Gordon, in turn, was an early influence on John Coltrane during the 1940s and 1950s. Coltrane's playing, however, during his early period from the mid to late '50s or early '60s influenced Gordon's playing from then onward. Similarities in their styles include their clear, strong, metallic tones, their tendencies to bend up to high notes, and their abilities to single-tongue and still swing. One of Gordon's idiosyncrasies was to recite the lyrics of each ballad before playing it.

Blue Note recordings

Gordon was composer, musician, and actor for the play 'The Connection' in 1960. By this time he had begun recording for Blue Note Records a collaboration that was to produce some of his most highly-regarded work on the albums Doin' Alright, Dexter Calling..., Go, and A Swingin' Affair. The first two, his Blue Note debuts, were recorded over three days in May 1961 with Freddie Hubbard, Horace Parlan and others. The last two were recorded in August 1962 just before Gordon left for his extended stay in Europe. On these albums the rhythm section was Blue Note staples Sonny Clark, Butch Warren and Billy Higgins.

Years in Europe

After that, he spent 15 years in Europe, mostly in Paris and Copenhagen, where he played regularly with fellow expatriate jazzmen such as Bud Powell, Ben Webster, Freddie Hubbard, Bobby Hutcherson, Kenny Drew, Horace Parlan and Billy Higgins. Gordon also visited the States occasionally for further recording dates with Blue Note Records. From this period Our Man in Paris, One Flight Up, and Gettin' Around) are regarded as among his finest sessions. Our Man in Paris was a Blue Note session recorded in Paris, France in 1963 with a quartet including pianist Bud Powell, drummer Kenny Clarke, and French bassist Pierre Michelot. One Flight Up features an extended solo by Gordon on the track "Tanya" recorded in Paris in 1964 with trumpeter Donald Byrd, while Gettin' Around was recorded during a visit back to the US in May 1965, as was the unreleased album Clubhouse.

Less well-known, but of similar quality, are the albums he recorded during the same period for the Danish label SteepleChase (Something Different, Bouncin' With Dex, and a few dozen others). They feature American sidemen but also such Europeans as Spanish pianist Tete Montoliu and Danish bassist Niels-Henning Ørsted Pedersen.

Gordon found Europe in the 1960s a much easier place to live, saying that he experienced less racism and greater respect for jazz musicians. Furthermore in America he had experienced drug addiction and imprisonment (twice), and must have found the change of location helpful.

From 1965-1973 he switched from Blue Note to Prestige Records but stayed very much on the hard-bop track, while the rest of the jazz-world was getting funky Gordon was making classic bop albums like 1972's Tangerine with Thad Jones, Freddie Hubbard, and Hank Jones. Some of the Prestige albums were recorded during visits back to North America while he was still living in Europe, others were made in Europe including live sets from the Montreux Jazz Festival. The American recordings included The Chase a tenor battle with Gene Ammons cut in Chicago in 1970.



Gordon finally returned to the United States for good in 1976. He appeared at the Village Vanguard, NY, for a gig that was dubbed as his 'homecoming;' and was recorded and released under that title. He noted 'There was so much love and elation; sometimes it was a little eerie at the Vanguard. After the last set they'd turn on the lights and nobody would move'.

After this appearance, Gordon recorded several more albums that proved he was as good if not better than before his years in Europe, and he finally gained appreciation as one of the great jazz tenors. The increased attention that he received because of Columbia Records promotions has been seen as a turning point in jazz because they focused on acoustic jazz rather than the commercial cross-over styles which had been heavily promoted during the first part of the 1970s.

Gordon made several notable film appearances. The first occurred, oddly enough, while he was in prison for possession of heroin. He portrayed an inmate playing in the prison band in Unchained, though the soundtrack was later overdubbed. In 1986, Gordon starred in the movie Round Midnight as 'Dale Turner', an expatriate jazz musician much like himself; the role might even be a thinly veiled biography of him, though Lester Young and Bud Powell were its main inspirations. Gordon received a nomination for Academy Award for Best Actor for his portrayal. In addition, he had a non-speaking role in the film Awakenings, which was released after his death. Between these two roles, Gordon made a guest appearance on the Michael Mann series Crime Story.

Gordon died of kidney failure on April 25, 1990, at age 67. He was voted musician of the year by Down Beat magazine in 1978 and 1980, and in the latter year was inducted into Down Beat's Jazz Hall of Fame.
http://en.wikipedia.org/wiki/Dexter_Gordon

Tracks :

1.Introduction
2.Secret Love
3.Introduction
4.End Of A Love Affair, The
5.Introduction
6.More Than You Know
7.Introduction
8.Blues Up And Down
9.Introduction
10.Cheesecake

Link : http://rapidshare.com/files/154989663/Dexter_Gordon_-_Live_at_Carnegie_Hall_1978.rar

Ripped by : evermoreblues
Artwork Included

HIGHWAY ROBBERY - FOR LOVE OR MONEY 1972

This Hard Rock Trio's one and only LP (originally released by RCA in 1972) has long been a favoite among Hard Rock Collectors. Original Vinyl copies fetch upwards of $50.00 on the collectors circuit. Now COLLECTIBLES has issued this SMOKIN' CD. Fans of early Rush,Led Zep,Mountain,Budgie and other similar Power Trios will thrill to the crunching Guitar & Wide-Opened/Full Throttle Heavyness of HIGHWAY ROBBERY.
By ROB BURNS (St Louis.MO)

Tracks :

1. Mystery Rider
2. Fifteen
3. All I Need (To Have Is You)
4. Lazy Woman
5. Bells
6. Ain't Gonna Take No More
7. I'll Do It All Again
8. Promotion Man

Link : http://rapidshare.com/files/154877021/Highway_robbery_-_for_love_or_money_1972.rar

Ripped by : evermoreblues
Artwork Included

YELLOW - KELTALUUME 1975

A Finnish prog-rock classic , very hard to find on lp .
Highly recommended !




















Tracks :

Palaa
A Man Without a Woman
Don't Stop the Music
Yhdentoista aikaan
Hold On
Longest Day
Arkeologi santaa kaivaa
A Game for Two
Joo Jussi
Rokki-Riitta
Mistreating Woman
Monkey McMan

Link : http://rapidshare.com/files/154876520/Yellow_-_Keltakuume_1975.rar

Ripped by : evermoreblues
Artwork Included

TONY JOE WHITE - CONTINUED 1969

Tony Joe and the Mojos performed in Kingsville, Texas for nearly one year, during the mid 60’s. Bass player Robert McGuffie and drummer ‘Whitie’, friends from Louisiana, formed the combo that offered soft rock and R&B. Tony left the combo and moved to Nashville to later record Poke Salad Annie.

White's first album, 1969's Black And White, was recorded with Muscle Shoals musicians David Briggs, Norbert Putnam, and Jerry Carrigan, and featured "Willie And Laura Mae Jones" and "Polk Salad Annie," along with covers of Jimmy Webb's "Wichita Lineman." "Soul Francisco" became a hit in France, and "Polk Salad Annie" charted as the album's third single.

In late September 1973, White was recruited by record producer Huey P. Meaux to sit in on the legendary Memphis sessions that became the landmark Southern Roots album of Jerry Lee Lewis.[citation needed]

By all accounts[citation needed], these sessions were a three day, around the clock party, which not only reunited the original MGs (Steve Cropper, Donald "Duck" Dunn and Al Jackson Jr. of Booker T. and the MGs fame) for the first time in three years, but they also featured Carl Perkins, Mark Lindsay (of Paul Revere and the Raiders), and Wayne Jackson plus The Memphis Horns.

Rory Gallagher did a cover of White's song "As The Crow Flies" on his live album, Irish Tour. Southern Culture On The Skids paid tribute to White in their 1996 song "Voodoo Cadillac" with the first stanza lyric: "Come on baby, take a ride with me / Up the Mississippi, down to New Orleans / Tuck and roll, FM stereo / Got some Tony Joe White on my radio."

In 2005 UK blues singer Elkie Brooks covered White's "Out Of The Rain", releasing it as a single and featuring it on her album Electric Lady. The version is now a staple of Elkie's repertoire[citation needed]. Coincidentally Brooks had recorded an old number of White's, "Aspen, Colorado" with her first rock band, 'Dada' in 1970.

One of his more recent performances was on 14 July 2006 in Magny-Cours, France, as a warm-up act for Roger Waters' Dark Side of the Moon concert. White's album entitled Uncovered was released in September 2006 and featured collaborations with Mark Knopfler, Michael McDonald, Eric Clapton, Waylon Jennings and J. J. Cale.
http://en.wikipedia.org/wiki/Tony_Joe_White

Tracks :

1.Elements and Things
2.Roosevelt and Ira Lee (Night of the Mossacin)
3.Woodpecker
4.Rainy Night in Georgia
5.For le Ann
6.Old Man Willis
7.Woman With Soul
8.I Want You
9.I Thought I Knew You Well
10.Migrant

Link : http://rapidshare.com/files/154564814/Tony_Joe_White_-_Continued_1969.rar

Ripped by : evermoreblues
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TONY JOE WHITE - BLACK AND WHITE 1969

If you know Steamy Windows by Tina Turner, Rainy Night In Georgia by Brook Benton, Polk Salad Annie by Elvis Presley or Willie And Laura Mae Jones by Dusty Springfield, then you know something about one side of Tony Joe White, the Swamp Fox from Louisiana. He wrote all of those and plenty more besides. Not only an accomplished songwriter, though, Tony Joe White is also recording artist and performer in his own right, singing and playing guitar on his own and other people's records and regularly touring.

Black And White was the album that followed his own 1969 US top ten hit Polk Salad Annie, the song that introduced swamp rock to the nation: funky horns, southern fried wah-wah guitar, alligator soul boogie and a voice as deep as his sideburns. There's a stack of that here, including an extra-fine version of Willie And Laura Mae Jones, as well as the earlier single Soul Francisco and four other original songs. The second side of the album consists of other people's material done the Tony Joe White way: Johnny Taylor's Who's Making Love, Slim Harpo's Scratch My Back, Roger Miller's Little Green Apples (a surprisingly effective and tender version), Glen Campbell's Wichita Lineman and Dusty Springfield's (or Dionne Warwick's) The Look Of Love.

The album was produced in Nashville by Billy Swan. As a bonus, both sides of his first single, from 1967, produced by Ray Stevens, are included. You can buy a Best Of compilation, but why deny yourself the opportunity to hear an album or two in full, as intended, in the process?
(By Laurence Upton (Wilts, UK)


Tracks :

1. Willie and Laura Mae Jones
2. Soul Francisco
3. Aspen Colorado
4. Whompt Out On You
5. Don't Steal My Love
6. Polk Salad Annie
7. Who's Making Love?
8. Scratch My Back
9. Little Green Apples
10. Wichita Lineman
11. Look of Love

Link : http://rapidshare.com/files/154564263/Tony_Joe_White_-_B_W_1969.rar

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CAT STEVENS - CATCH BULL AT FOUR 1972

Catch Bull at Four is an album by Cat Stevens. It was Stevens' most successful album in the United States, holding the top spot on Billboard's chart for three consecutive weeks. The title is taken from one of the Ten Bulls of Zen by Kakuan. The Ten Bulls are a series of drawings representing differents stages of awareness. The fourth drawing is called "Catching the Bull".




Tracks :

1. "Sitting" – 3:14
2. "The Boy with a Moon & Star on His Head" – 5:57
3. "Angelsea" – 4:30
4. "Silent Sunlight" – 3:00
5. "Can't Keep It In" – 2:59
6. "18th Avenue" – 4:21
7. "Freezing Steel" – 3:40
8. "O' Caritas" (Andreas Toumazis, Jeremy Taylor, Stevens) – 3:41
9. "Sweet Scarlet" – 3:49
10. "Ruins" – 4:24

Link : http://rapidshare.com/files/154563576/Catch_Bull_at_Four.rar

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SONS OF CHAMPLIN - LOOSEN UP NATURALLY 1969

Heavy rocking, with some nice drums -- the kind of record that's kept the Sons in more crates than you'd think over the years! The set's a massive 2LP jammer that really overflows with niceness -- often done in a heartfelt, blues-tinged rock style that's got traces of Little Feat and The Steve Miller Band -- but the album's best remembered for the few tunes that have some nice funky changes, like the drums and bass on "Rooftop", or the jazzy scatting riffing sound of the 15 minute track "Freedom", or the hard jamming organ and horns in "Hello Sunlight". Other tracks include "Everywhere", "1982 A", "Black & Blue Rainbow", and "Get High". (Original pressing, including the print.) © 1996-2008, Dusty Groove America, Inc.





Tracks :

1. 1982-A
2. Thing to Do
3. Misery Isn't Free
4. Rooftop
5. Everywhere
6. Don't Fight It, Do It!
7. Get High
8. Black and Blue Rainbow
9. Hello Sunlight
10. Things Are Getting Better
11. Freedom

Link : http://rapidshare.com/files/154282455/SoC__loosen_up_naturally.rar

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SOUTHWEST F.O.B - SMELL OF INCENSE 1968

SOUTHWEST F.O.B. Smell Of Incense (2006 US limited edition 8-track LP pressed on HIGH DEFINITION 180gram VIRGIN VINYL; originally released in 1968, this was the debut album by these Dallas, Texas hotshots, who featured the angelic vocals of Dan Seals and John Colley [who would later commandeer the charts as England Dan & John Ford Coley], and fused their heavenly harmonies with mindbending Farfisa-organ stylings and fuzz-drenched guitar work. In short, they had everything that was wonderful about mid-'60s rock & roll!
(http://eil.com/shop/moreinfo.asp?catalogid=384435)










Tracks :

1. Smell Of Incense
2. Tomorrow
3. Rock 'N' Roll Woman
4. Downtown Woman
5. All One Big Game
6. On My Mind
7. Bells Of Baytown
8. And Another Thing

Link : http://rapidshare.com/files/154044257/Southwest_F.O.B_-_Smell_of_Incense_1968.rar

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STEVE MARRIOTT - MARRIOTT 1976

Stevie marriott the genius behind the small faces and humble pie with his catchy lyrics and easy to the ear britpop feel of the small faces they had some many hit singles..then in 1968 stevie marriott left small faces too form the harder rocker/blues band humble pie with ex-herd guitarist peter frampton then after a few sucessful albums in the states peter frampton left then after the fantastic soul/rock "smokin" album humble pie decide to call it a day then in 1974 stevie marriott decide to cut a solo album of two halves this album has the hard edge of the first few humble pie albums and the soul/blues of "smokin" a truly classic album finally re-released on CD what a joy this cd is.. with the late great mickey finn playing guitar on the first half of the album..this album sends shivers down my spine...stevie marriott a true rock geniuses.
(By .Richard "Rich" (england)



Tracks :

1. STAR IN MY LIFE
2. ARE YOU LONELY FOR ME BABY
3. YOU DON’T KNOW ME
4. LATE NITE LADY
5. EARLY EVENING LIGHT
6. EAST SIDE STRUTTIN’
7. LOOKIN FOR LOVE
8. HELP ME THROUGH THE DAY
9. MIDNIGHT ROLLIN
10. WHAM BAM THANK YOU MAM

Link : http://rapidshare.com/files/154042929/Steve_Marriott_-_Marriott_1976.rar

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TRAPEZE - S/T 1970

Trapeze were the first act signed by the Moody Blues to their newly founded Threshold Records label, and remain the most substantial talent -- along with Nicky James -- ever to pass through that company's roster, apart from the Moodies themselves. Those listeners who only know the subsequent albums by Trapeze may be surprised by this debut effort, the sole recording left behind by the original five-piece version of the band. With Moody Blues bassist John Lodge producing a lineup that included ex-Montanas lead singer John Jones and guitarist/keyboardist Terry Rowley alongside singer/guitarist Mel Galley, bassist Glenn Hughes, and drummer Dave Holland, late of Finders Keepers, the sounds here don't closely resemble the hard-rocking work of the subsequent trio -- there are lush choruses, psychedelic interludes, and hook-laden romantic ballads scattered throughout this record. Yet that trio, of Hughes, Galley, and Holland, is pumping out high-energy music within the context of psychedelic pop/rock throughout this album, which comes off as a much higher-wattage alternative to the Moody Blues. And in some respects, this album also closely resembles the better moments on those three early Deep Purple albums (the ones with Rod Evans on lead vocals), when they were essentially a hard rock outfit still playing pop/rock -- the results aren't bad and, in fact, are quite catchy at times, but it's clear that three of these musicians are holding back to one degree or another in these surroundings. Galley's high-energy leads and power chords and Hughes' already larger-than-life bass are the dominant sounds about 60 percent of the time, overpowering much around them, with songs like the Galley/Jones-composed "Fairytale" and Hughes-authored "Am I" pointing the way to their future sound -- and even on Rowley's rock ballad "Send Me No More Letters," Holland is playing drums about as hard as the music will permit. The core trio does find a good compromise with Rowley and Jones' more lyrical, psychedelic pop sensibilities, and Trapeze probably could have held this sound together longer than they did but for Jones' and Rowley's departures. But it's also clear that there was another band trying to break out from within the sound of this lineup, which happened later in the year when Trapeze were reduced to a trio.
~ Bruce Eder, All Music Guide

Tracks :

1. "It's Only A Dream" (Galley) 0:44
2. "The Giant's Dead Hoorah!" (Hughes) 3:33
3. "Over" (Jones, Galley) 3:38
4. "Nancy Gray" (Hughes) 2:48
5. "Fairytale" - "Verily Verily" - "Fairytale" (Jones, Galley) 7:41
6. "It's My Life" (Jones, Galley) 2:51
7. "Am I" (Hughes) 3:08
8. "Suicide" (Jones, Galley) 4:52
9. "Wings" (Hughes, Rowley) 3:30
10. "Another Day" (Galley, Hughes, Jones) 2:37
11. "Send Me No More Letters" (Rowley) 4:35
12. "It's Only A Dream" (reprise) (Galley) 0:40

Link : http://rapidshare.com/files/153660089/Trapeze_-_Trapeze_1970.rar

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COLD SUN - DARK SHADOWS 1970

Cold Sun from Austin, Texas was recorded in 1970 in the legendary Sonobeat studios, where the Mariani and Johnny Winter first LPs were produced. The Cold Sun band are considered contemporaries of Velvet Underground and The Fugs, often listed as being in a similar vein but inspirations for this unique piece actually go back to the desperated, haunted Joe Meek. All songs lyrically express dark, mystic poetry with the true 60s psychedelic floating/distorted fuzz spirit presented in short compact mini-epics along with several mind blowing long tunes, such as "Ra-Ma" (11 min), "Here In The Year" (9 min) and "Fall" (7 min). Discovered by Rockadelic Records of Dallas, Texas in 1991, the Dark Shadows album saw the light of day the next year as a limited LP version, to become today one of the most important and revered US psychedelic underground albums from the early 70s. ---(Rockadelic heard it in the form of an old scratchy acetate that one of the Cold Sun band members had made in order to be able to play the recording at friendsparties on their turntables. The acetate only contained 2/3 of the songs but so greatly impressed them that Rockadelic managed together with bandleader Bill Miller to release the complete sessions from mastertape.)--- Autoharp wizard Miller eventually spearheaded Roky Erickson's international debut as the Cold Sun band joined forces with Roky in 1974 and became BliebAlien, later evolved into The Aliens and backed Roky on his famous albums and historical concerts.--- Carefully remastered from the mastertapes, this album will bring new rewarding listening experiences in expanded fidelity, plus 2 unreleased non-album songs, authentic Live/Concert recordings of "Live Again"(10 min) and "Mind Aura"(7 min). The fidelity of these reel to reel Live recordings is also remarkable. The CD and Vinyl issues will both have an extended booklet/insert with liner notes by Jello Biafra plus rare photos and other surprises. The Vinyl issue is packaged in a luxury foldout cardboard cover as Dragonwyck, Phantasia or Mystic Siva and contains an extra 10" bonus record & insert. According to Patrick (Lama) Lundborg from Lysergia.com: "Best Rockadelic LP ever, and in my opinion the best Texas LP of the time. Enjoy this ONE- HOUR psychedelic Happening, a "must-have" 60s/70s heavy uber-psych masterpiece!
(http://www.systemrecords.co.uk/coldsundarkshadows2lp-p-975719.html)

Tracks :

Ra-Ma
Here in The Year
See What You Cause
Twisted Flower
South Texas
For Ever
Fall

Link : http://rapidshare.com/files/153660815/Dark_shadows_Cold_sun_1970.rar

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DAVID LINDLEY - EL RAYO-X 1981

Lindley's probably been heard by many more listeners as a session player behind Dylan, Ronstadt, Zevon, and his guiding hand work on Jackson Browne's best-known recordings of the '70s. But his own work, early-on with Kaleidoscope, and later with El Rayo-X, is easily as interesting and original. This debut of the latter group, released in 1981, showed Lindley to be as capable a leader as he is a sideman.

For his solo coming out, Lindley not only put together a terrific band, but displayed a tremendous ear for material that fit his tinny voice and a talent for molding refreshed well-known chestnuts. The application of a reggae beat to the Everly Brothers' "Bye Bye Love" and a zydeco second-line rhythm to the Isley Brothers' "Twist and Shout" may not be obvious, but they sure work. His buzzing, revved up guitar-and-drum-heavy take of "Mercury Blues" was good enough to become the defining version for many FM radio listeners of the '80s. The album's originals are as good as its covers, with zydeco, reggae, rock and soul all mixed together with great skill and joy.
(By hyperbolium - http://www.amazon.com/El-Rayo-X-David-Lindley/dp/B000002GX8)

Tracks :

She Took Off My Romeos
Bye Bye Love
Mercury Blues
Quarter of a Man
Ain't No Way
Twist and Shout
El Rayo-X - (Spanish)
Your Old Lady
Don't Look Back
Petit Fleur - (French)
Tu-Ber-Cu-Lucas and the Sinus Blues
Pay the Man

Link : http://rapidshare.com/files/153343746/David_Lindley_-_El_Rayo-x_1981.rar

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SONS OF CHAMPLIN - MINUS SEEDS & STEMS 1971

One of the last and more obscure bands to emerge from the late-'60s San Francisco psychedelic scene, the Sons of Champlin were relatively unusual among Bay Area bands for favoring heavily soul-influenced material and employing a prominent horn section. Their more introspective songs can recall the more subdued efforts of Quicksilver Messenger Service and Moby Grape, and their longer compositions boasted unusually complex song structures and tempo shifts. Revered by some collectors, their work hasn't aged as well as the best of their peers; the vocals weren't gritty enough to carry the R&B-based material and the ambitious longer tracks were prone to some half-baked songwriting and meandering jamming. Their first three albums (issued on Capitol between 1969 and 1971) are considered their best, though they recorded some other LPs in the '70s with shifting personnel. In late 1997, the Sons of Champlin reunited for a series of hometown reunion concerts, resulting in the release of their first-ever live LP a year later.
~ Richie Unterberger, All Music Guide


Tracks :

Who's Afraid of Virginia Woolf? (Kirkpatrick/Knox)
You Don't Love Me No More (Champlin)
Nice Time Being (Champlin)
Miles Around You (Champlin)
What Are We Doing Here (Sons of Champlin)
Lucille (Collins/Penniman)
Roll Out the Barrel (Traditional)
Yo Mama (Moitoza)
Uncle Mergetroid (Champlin)
Chico Smoke El Ropo (Sons of Champlin)
Instantaneous Instrumental Jam or Do... (Sons of Champlin)
Get High (Champlin)
Hey Children (Champlin)
Hag Backwards (Inside Outside) (Champlin)
Beggin' You Baby (Champlin)

Link : http://rapidshare.com/files/153342325/SoC_-_Minus_seeds___stems_1971.rar

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JACKAL - AWAKE 1973

"Jackal - Awake SKU TL2002 Released in 1973 on the obscure Canadian Periwinkle label, Jackal's "Awake" album has become a highly sought after album by collector's of heavy psychedelic/progressive rock. Original copies have sold for as much as $300! After an exhaustive five year search we have finally located the original master tapes.Drawing inspiration from Deep Purple, Jackal incorporates dazzling guitar/organ interplay evoking Blackmore and Lord at their heaviest. The complexity of their music took them far beyond the basic hard rock sounds of many of their peers. Perhaps with a few lucky breaks the band could have gone on to bigger and better things. All that's left of their legacy is this sole collector's item."





Tracks :

At the Station
For You Day
Sunny Side of the Day
New Day Has Arisen
How Time Has Flown
Lost in the World
In the Heavens
Awake

Link : http://rapidshare.com/files/152665535/Jackal_Awake_1973.rar

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ALBATROSS - S/T 1976

A lesser-known American symphonic band from Rockford Illinois, ALBATROSS was heavily Influenced by Yes, Keith Emerson, and Lift., they share the same dubious honor as bands like Starcastle and Cathedral in their Yes comparisons.

The Band featured Mark Dahlgren on keyboards, Paul Roe on lead guitar, Joe Guarino on bass, Dana Williams on Percussion, and Mike Novak, who's vocals have been called an acquired taste. Dahlgren's synths and mellotron often suffer accusations of copying Rick Wakeman and Emerson.

The strength lies in the experimentation and guitar/synth duets. They only released the self titled album on the Anvil label in 1976.

Singer Mike Novak joined THE BLUES HAWKS (another Rockford band) in 1996. This was tremendously good news, as he had just recovered from a double aneurysm.

H.T. Riekels (bhikkhu)

Tracks :

Four Horsemen of the Apocalypse
Mr. Natural
Devil's Strumpet
Cannot be Found
Humpback Whales

Link : http://rapidshare.com/files/152664628/Albatross_1976.rar

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COCHISE - S/T 1969

Cochise
was in existence for only three years between 1969 and 1972, but in that time we recorded three albums (a total of 28 tracks) and Mick Grabham and I went on to make solo albums for United Artists. We were signed to United Artists records in 1969 by Andrew Lauder. Our label mates were an assorted bunch of bands that reflected Andrew's forward thinking policies – High Tide, Brinsley Schwarz, Hawkwind, Man etc. We played colleges, festivals, and places like the Roundhouse and the Marquee, and were managed by Clearwater Productions who also looked after Hawkwind and High Tide. It was altogether a very 'heady' time. ( http://www.procolharum.com/cochise.htm )






Tracks :

Velvet Mountain
China
Trafalgar Day
Moment and the end
Watch this space
59th street bridge song ( Feelin' Groovy )
Past Loves
Painted Lady
___________
Bonus tracks taken from So Far 1972

Cajun girl
Diamonds
Blind Love
Thunder in the Crib
Midnight moonshine

Link : http://rapidshare.com/files/152379238/Cochise_1969.rar

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DADDY LONLEGS - OAKDOWN FARM 1971

From "Oakdown Farm", in 1971, their second album, and their first effort for Vertigo Records. Formed in the US in 1968, the band featured Kurt Palomaki on bass and clarinet, Steve Hayton on guitar and vocals and Clif Carrison on drums. They moved to England in 1969 when they were promised work in movies, but when this didn't materialize, they signed to Warner Brothers Records, having recruited Mo Armstrong on vocals (and Steve Miller helping out on keyboards). This line-up recorded the band's eponymous album, which was released in 1970.

Mo Armstrong and Steve Hayton then left the band (with the latter joining guitarist/vocalist Mick Softtley) and they were replaced by Gary ''Norton" Holderman and Pete Arnesen respectively. The line-up of Carrison, Palomaki, Arnesen and Holderman signed to Vertigo Records and Daddy Longlegs were effectively the first US band to appear on this prestigious progressive rock label. The album has some fantastic moments, varying between jazz, folk and rock.

Pete Arnesen would later team up with bass player Tim Wheatley (from Vertigo stablemates Gracious), and they formed Taggett with ex-Greatest Show on Earth vocalist/guitarist Colin Horton-Jennings in 1974. (Prior to this, both Arnesen and Palomaki had a short stint with Dick Morrissey's If, appearing on their ''Double Diamond" album in 1973). Daddy Longlegs then moved to Polydor Records and they released their third album, ''Three Musicians", in 1972. The band then released their final album, "Shifting Sands", the same year, before folding for good.

Tracks :

Rubber Tyre
Double Decker
Please Believe Me
Lonely Way
Sweet Louise
Wheeling & Dealing
Rusty Door
Gambling Man
Clara Bell
Night Shift
Boogie

Link : http://rapidshare.com/files/152376169/Daddy_Longlegs_Oak_down_farm_1971.rar

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THE OUTLAW BLUES BAND - BREAKING IN 1969

The Outlaw Blues Band was one of many Blues revivalist groups from the 1960s. They start off with 3 covers that set a real nice, laid back, electric Blues sound with Plastic Man, Stormy Monday Blues and My Baby’s Left And Gone. The second side sounds totally different because it’s all original material that mixes Pop, Blues, Jazz and Rock. The best tunes are the Latin tinged Jazz-Rock of Mamo Pano Shhhh with some strong work on the vibes, and the slow and Funky blues of Deep Gully that’s been made famous by De La and Main Source sampling it.










Tracks :

1. Plastic Man 5:08
2. Stormy Monday Blues 6:42
3. My Baby's Left And Gone 4:31
4. Day Said 3:20
5. Mamo Pano Shhhh 6:14
6. You're The Only One 2:11
7. Deep Gully 5:47

Link : http://rapidshare.com/files/152375477/The_Outlaw_Blues_Band_Breaking_in_1969.rar

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THE SECOND COMING - S/T 1970

Rare psych-brass rock , 9 member band, similar to Blood Sweat & Tears , could not find any info about the band.

Tracks :

1 Requiem For A Rainy Day
2 Take Me Home
3 Nobody Cares
4 Landlubber
5 Roundhouse
6 It's Over
7 Jeremiah Crane

Link : http://rapidshare.com/files/152016846/The_second_coming_1970.rar

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WHITE WITCH - S/T 1972

Formed in 1971, White Witch was named as a paean to good magic, contrary to the "black magic" of a group like Black Sabbath. The band originally featured the almost screechingly-high range of singer Ronald "Ronn" (or "Ron") Goedert, guitarist Charles "Buddy" Richardson, keyboardist Hardin "Buddy" Pendergrass, drummer Robert "Bobby" Shea and bassist Loyall "Beau" Fisher. Fischer left the group sometime after the first album and was replaced by Rabbi Barbee.

New musicians were added to the band during the making of the second album. They included bassist Charlie Souza and drummer Bill Peterson. Buddy Richardson left the group after the second album was released and was replaced by guitarist George Brawley, who had spent the past year as a session guitarist in Los Angeles after leaving the southern rock group "Brother" from Columbia, SC. Drummer Bobby Shea stayed with the group as percussionist and back-up singer. A third album was in the making and four tracks were recorded on demo, but the group broke up in the late 1970s before a third album was recorded. After White Witch, Goedert made some solo recordings, Pendergrass wrote commercial jingles and opened a recording studio, and Richardson played in other bands ("Revolver"). Pendergrass, Souza, and Shea had previously been in the successful regional group "The Tropics".

As the story usually goes for unique bands that pushed the musical envelope in that era, especially those whose record company doesn't support the effort, the band recorded two albums for Capricorn that faded into cut-out bins everywhere. Their lyrics were indeed as venturesome as their music, with wildly-varying lyrical references that appeared to be leftovers from 1960s psychedelia. The tongue-in-cheek lyrics of the song "Class of 2000" are as incredible in hindsight now as they were in foresight in 1974 and could easily be compared (in reverse form) to the Pollyanna, retro-hindsight of the Donald Fagen album The Nightfly, in which the main theme plays upon an expected, foreseen future that never was, although wearing silver suits could be the all the rage if greenhouse gases and rogue nuclear nations do indeed prevail.

Most of the songs on their first album were written by Goedert and Pendergrass, with contributions from the other band members. All of the songs on the second album were written by Goedert, Pendergrass, and Richardson.

It is rumored that the first album sold enough copies to qualify for an RIAA gold album, but the accounting was not done. The first album reportedly reached number 51 on the album charts and the single "And I'm Leaving" reportedly reached number 48 – without any promotion from the record company. Rolling Stone panned both albums, giving the first album one star (out of five) and the second two stars. Both albums were released on CD in 1999 but quickly went out of print. The songs are available as legal downloads.

Goedert died on July 16, 2000; Pendergrass died March 16, 2003, both of cancer. The group was inducted into the Florida Rock and Roll hall of Fame in Tallahassee.

( http://en.wikipedia.org/wiki/White_Witch_(band) )

Tracks :

1. Parabrahm Greeting/Dwellers of the Threshold (Goedert, Pendergrass, Richardson, Shea, and Fischer)
2. Help Me Lord
3. Don't Close Your Mind (Goedert, Pendergrass, and Richardson)
4. You're the One
5. Sleepwalk
6. Home Grown Girl
7. And I'm Leaving
8. Illusion
9. It's So Nice to be Stoned (Richardson and Fischer)
10. Have You Ever Thought of Changing/Jackson Slade
11. The Gift (Goedert, Pendergrass, Richardson, Shea, and Fischer)

Link : http://rapidshare.com/files/152016424/White_witch_1972.rar

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BAKER GURVITZ ARMY - ELYSIAN ENCOUNTER 1976

Former The Gun and Three Man Army members, Paul Gurvitz and Adrian Gurvitz joined forces with ex-Cream drummer Ginger Baker in 1974. Things had not been going too well for Ginger Baker since the demise of his own band Ginger Baker's Airforce. The Gurvitz Brothers, too, were looking for a new way ahead after the early success of their band The Gun.

When Cream split up in 1968, Ginger Baker was invited to join Blind Faith, which formed the following year. This was not such a successful venture and following its demise, Ginger decided to put together his own outfit, Ginger Baker's Airforce, in 1970. This huge band included many of his friends and favourite musicians like Graham Bond, Phil Seamen, Denny Laine and Steve Winwood. The band recorded two 'live' albums, but eventually the whole project became too costly. In 1974, though, it seemed he could use his greatest talent in the Baker Gurvitz Army. Their first album was released the same year and featured a dynamic mixture of heavy rock, guitar themes propelled by Baker's irrepressible drumming.

The band recorded two more albums, Elysian Encounter and Hearts Of Fire. But personality clashes eventually led to the band breaking up the same year of their last release. In the aftermath Ginger briefly led a band called Energy, and was associated with Atomic Rooster and Hawkwind. In 2003 a music union named Flying In and Out of Stardom was released, with no new songs but the live track "Whatever It Is" recorded in 1975.
Info taken from : http://en.wikipedia.org/wiki/Baker_Gurvitz_Army

Tracks :

People
The Key
Time
The Gambler
The Dreamer
Remember
The Artist
The Hustler

Link : http://rapidshare.com/files/151699696/Baker_Gurvitz_Army_-_Elysian_encounter_1976.rar

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RICHARD BETTS - HIGHWAY CALL 1974

The album "Highway Call" is an excellent choice for those that appreciate the Dicky Betts clean style guitar sound. This album is much different than his others. It emphasizes a joyful blend of lyrics and instruments. Great musicians whose names speak for themselves; The Rambos, Vassar Clements, Tommy Talton, Jeff Hanna; John Hughey, Chuch Leavell, etc. I wish this artist would make more albums like this. He has great talent and this album showcases it.

Info by : Tracy (Ocala, FL, USA)










Tracks :

1. Long Time Gone - Dickey Betts, Richard Betts
2. Rain - Dickey Betts, Richard Betts
3. Highway Call - Dickey Betts, Richard Betts
4. Let Nature Sing - Richard Betts
5. Hand Picked - Richard Betts
6. Kissimmee Kid - Richard Betts

Link : http://rapidshare.com/files/151699310/Richard_Betts_-_Highway_call_1974.rar

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Artwork Included

ROGER MCGUINN - CARDIFF ROSE 1976

On the surface Roger McGuinn, the former leader and 12-string jangle-meister of the Byrds, and Mick Ronson, who contributed the wicked guitar crunch to David Bowie's "Spiders From Mars" period, might seem like a wildly unlikely musical combination, but the two became friendly when they both toured as part of Bob Dylan & the Rolling Thunder Revue, and after that road trip came to a close, Ronson went into the studio with McGuinn to produce his next solo album. The result, 1976's Cardiff Rose, is easily one of McGuinn's finest solo efforts; with fellow Rolling Thunder veterans Rob Stoner, Howie Wyeth and David Mansfield joining McGuinn and Ronson in the studio; the band sounds tight and enthusiastic from front to back, and while this rocks a good bit harder than the average McGuinn effort, Ronson's six-string swagger never gets in the way of the songs, and Mick's production is unexpectedly sympathetic, adding the right seafaring touches to the pirate tale "Jolly Roger" and coming up with a lovely old-timey arrangement for "Pretty Polly." McGuinn also had a better batch of material at his disposal than on his previous set, Roger McGuinn & Band; he wrote a handful of strong originals, including "Partners in Crime" (a witty salute to Abbie Hoffman, then on the lam), the charging rockers "Rock and Roll Time" and "Take Me Away," and the beautifully atmospheric "Jolly Roger," while he was also lucky enough to receive fine contributions from Bob Dylan ("Up to Me") and Joni Mitchell (" "Dreamland"). Sadly, Cardiff Rose didn't fare especially well on the sales charts, which is a shame -- it finds McGuinn in excellent form, and proves he could have moved outside of the musical framework of the Byrds and still had plenty to say with the right collaborators. Sundazed Records reissued Cardiff Rose in 2004 with two bonus tracks, a live take of "Dreamland" from a 1976 concert, and a demo cover of David Bowie's "Soul Love," which didn't make the final cut for the album.

~ Mark Deming, All Music Guide

Tracks :

Take Me Away
Jolly Roger
Rock and Roll Time
Friend
Partners in Crime
Up to Me
Round Table
Pretty Polly
Dreamland

Link : http://rapidshare.com/files/151382056/Roger_Mcguinn_-_Cardiff_Rose_1976.rar

Ripped by : evermoreblues
Artwork Included

ROGER MCGUINN - S/T 1973

Roger McGuinn's 1973 self-titled solo debut was in most respects a breath of fresh air after the final days of the Byrds, in which the group was floundering in directionless mediocrity. In a sense, it's a back-to-basics album that emphasizes much of what McGuinn does so well: his forceful reedy vocals, his guitar playing, and his skills at both writing earnest folk-rock material (usually with future Bob Dylan collaborator Jacques Levy here) and interpreting unusual traditional and contemporary songs. Never was it folkier than on the acoustic "I'm So Restless," which benefited from harmonica by Dylan himself (about whom the song was partially about). All four of the other original Byrds play on "My New Woman," which is virtually a reunion of the original quintet, with the addition of saxophone by jazzman Charles Lloyd; David Crosby makes unobtrusive cameos on some other tracks. As likable as it is, however, the album isn't an unqualified triumph. Some of the songs aren't so hot, some of the Moog synthesizer (by McGuinn) is unnecessary, his vocals sometimes seem to have been recorded with too much brittleness, and none of this is as good as the best of the Byrds. Unexpected influences make themselves heard in the Beach Boys harmonies of "Draggin'" (with Bruce Johnston of the Beach Boys on piano and backup harmonies), the Vietnam blues of "Hanoi Hannah," and the gospel-rock of "Stone." The 2004 CD reissue adds two previously unissued bonus tracks: a solo acoustic cover of the traditional folk song "John, John" and a less pleasing cover of Jackson Browne's "Jamaica, Say You Will." It also has historical liner notes with plenty of quotes on the sessions and songs from McGuinn himself.

~ Richie Unterberger, All Music Guide

Tracks :

I'm So Restless
My New Woman
Lost My Driving Wheel
Draggin'
Time Cube
Bag Full of Money
Hanoi Hannah
Stone
Heave Away
M' Linda
The Water Is Wide

Link : http://rapidshare.com/files/151382285/Roger_Mcguinn_1973.rar

Ripped by : evermoreblues
Artwork Included

THE TREES - THE CHRIST TREE 1972

The Trees were a psychedelic spiritual commune in the early seventies who eventually found their way to the Episcopal Church. The Christ Tree (a reference to the icon of Christ as the trunk and the apostles as the branches) is an entirely unique experience. It's not for the pessimistic of heart. The record has 18 tracks, and each one, as far as I can tell, is based on the Hebrew Psalms. The music reflects these lyrics by being very pastoral-sounding, lots of acoustic guitar, some sitar, flutes, percussion, didgeridoo, and so on. There are typically multiple voices singing at once, sometimes in harmony and sometimes in melody. Some of my favorite tracks, like "Annunciation," have a chant-like quality to their vocals with a slow chugging accompaniment. The record can edge a little on the corny side, but I don't think that enough can be said for how innovative this album was in 1974. It's full of unexpected psychedelic quirks, such as an unwieldy flautist or vocal percussion.

Info by : Magpied_Piper,http://rateyourmusic.com/release/album/the_trees/the_christ_tree/

Tracks :

Psalm 42
Parable of the mustard seed
Psalm 45
Oh little town of Bethlehem
Village Orchestra
Jesus he knows
I will not leave you comfortless
Chant for a Pentecost
Psalm 46

Link : http://rapidshare.com/files/151192707/The_trees_-_The_Christ_tree_1972.rar

Ripped by : evermoreblues
Artwork Included

CALIBAN - S/T 1998

Caliban is singer/mandolinist Lief Sorbye and fiddler Michael Mullen, both members of the progressive Celt-rock band Tempest. Caliban is their acoustic side project, one which focuses specifically on traditional material. Sorbye is a highly accomplished mandolin and bouzouki player, and he acquits himself beautifully on tunes like "Tipsy Sailor" and "The Open Door." Mullen is a fine fiddler as well, and an especially sensitive and tasteful accompanist. But Sorbye's singing is less enjoyable than his playing, and the stripped-down acoustic duo setting only makes his vocal limitations all the more obvious, especially on the lovely Norwegian ballad "Jeg Lagde Meg Sa Silde" and Richard Thompson's heartbreaking "Beeswing." He sounds better when there are more (and louder) musicians supporting his voice. This disc is by no means without its pleasures-it's just that most of them are instrumental.
Rick Anderson, All Music Guide


Tracks :

The Open Door
Beeswing
The Journeyman
Tipsy Sailor
Oh No
Jeg Lagde Meg Sa Silde
The Pony Set
Bold John Barleycorn
Major Malley
What Put the Blood
Company of Wolves

Link : http://rapidshare.com/files/151191259/Caliban_1998.rar

Ripped by : evermoreblues
Artwork Included

WHALEFEATHERS - DECLARE 1969 / WHALEFEATHERS 1970

Both albums from 1969 and 1970 by this great US band who released their recordings on the same label as Electric Toilet. The first album features a cover Moby Grape's "Omaha" and a set of heavy keyboard driven psychedelic blues and inflected rock whilst the second features long jamming tracks with spacious instrumental parts swamped in keyboards and distorted guitar overload. It also includes a cover version of a Saint Steven track! Rare as hell as originals. Housed in a mini album sleeve.
Info taken from : Freakemporium

Tracks :

Declare:
Declare-Prelude
Lost Dimension
Know Thyself
Imagine
Omaha
Please Me For A While
Invention Sequence
Love Can't Be Wrong

Whalefeathers:
World Of Pain
I Don't Need No Doctor
It's A Hard Road (Back Home)
Bastich
Pretty Woman
Shadows

Link : http://rapidshare.com/files/150911507/Whalefeathers_-_Declare___Whalefeathers_1969.rar

Ripped by : evermoreblues

Artwork Included

PRIMEVIL - SMOKIN' BATS AT CAMPTON'S 1974

Primevil began a short but epic journey as a group of young Indiana rural misfit rockers who dreamed about playing music in front of thousands! Primevil went fro "O to 300" in less time than almost any band before them. The band literally started out from square one when everybody's bud Mel Cupp had to learn to play drums to be in the band and just a few months later the band was rockin' and rollin' onstage with the likes of Z Z Top, Kansas, Renaissance, Roy Buchanan, Muddy Waters and Billy Cobham. Primevil released two vinyl efforts with the first being a 45 that the band thought was so bad they used to literally use them for target practice. There are only 8 45's known to still exist and are a prized collector's item. The other release was the now legendary "Smokin' Bats At Campton's" which has been hailed around the globe as a hard rock masterpiece. Copies of the true and original Primevil "Smokin' Bats At Campton's" LP have fetched more than $1000 on the open market and are extremely rare. Recorded at the historic 700 West Studio and produced by Moe Whittemore, fans of the best hard rockin' early 70's fare are now finally able to have, hold and enjoy this fully authorized CD re-release of this classic!

Info taken  from : http://cdbaby.com/cd/primevil

Tracks :

1 Leavin' 3:51
2 Progress 3:25
3 Fantasies 6:00
4 Pretty Woman 3:11
5 Tell Me If You Can 5:20
6 Hey Lover 2:36
7 High Steppin' Stomper 4:27
8 Your Blues 7:2

Link : http://rapidshare.com/files/150908048/Smokin__Bats_at_Camptons.rar

Ripped by : evermoreblues

Artwork Included

ZEPHYR - GOING BACK TO COLORADO 1971

Zephyr is one heck of a great band! Like many people, I wanted to hear this album because of Tommy Bolin's fantastic guitar playing. He's one of the most underrated rock guitarists of the 70's. I knew the guitar playing would be great, but I had no idea the songwriting would be entirely unique and diverse. Each song on this Zephyr album can either be considered pop rock or jam rock. Seriously, each song is filled with many little tasty instrumental goodies to satisfy almost anyone who appreciates rock music from the 60's and 70's. The lead singer understands how to connect to the listener with emotional vocals too.

You have the title song which reminds me of something Rush would do on their second album, "Keep Me" reminds me of the kind of emotional brilliance Carole King is known for, and "Take My Love" is like a blend between Miles Davis, Blood, Sweat and Tears, and Jefferson Airplane. That bassline is addicting, and the vocals are fantastic as well. The jazzy solo is another highlight. Absolutely love this track.

The second song called "Miss Libertine" reminds me of the Jefferson Airplane yet again. Remember how Jefferson Airplane had the talent to be creative, experimental geniuses who sounded like *no one* else? Well, Zephyr has that same talent. An extraordinary band. The last song on the album has a psychedelic piano melody with some neat drumming included.

The rest of the songs are just really high quality rock songs that can be filled with tasty instrumental bits underneath the vocals, and some of the most creative and underrated songwriting abilities I have ever heard. An easy perfect rating for this album. I seriously hope more people check out this incredible album, because right at this very moment, I'm totally shocked it wasn't more popular than it was. Trust me, this is a wonderful album for every single second.

Every song has its own sound and style, the songwriting is unbelievably catchy, and the instrumental bits are really satisfying for anyone who likes to jam out. It's perfect!

By B. E Jackson (Pennsylvania)

Tracks :

01 - Going Back To Colorado
02 - Miss Libertine
03 - Night Fades Softly
04 - The Radio Song
05 - See My People Come Together
06 - Showbizzy
07 - Keep Me
08 - Take My Love
09 - I'll be Right Here
10 - At This Very Moment

Link : http://rapidshare.com/files/150539434/Zephyr_-_Going_back_to_Colorado_1971.rar

Ripped by : evermoreblues
Artwork Included

ARTHUR LEE - VINDICATOR 1972

Originally released in album form in 1972 to an indifferent world,it was intended by Arthur Lee as an attempt to follow through with an idea Jimi Hendrix had to form a group featuring himself and Arthur Lee along with Stevie Winwood & Remi K. from Traffic and call it Band-Aid.What Arthur salvages from the abortion is the name Band-Aid and a very straight-ahead stab at an even more Hendrix-ian sound than he'd been sneaking into his previous couple of releases.It results in sounding not so much like Jimi Hendrix,but more like what it really is-a tribute to the hard rock sound of later day Hendrix.Most of these songs are quite excellent,I have always particulary enjoyed "you can save up to 50% but you're still a long ways from home"(which ain't about nothin') "Every Time I Look Up I'm Down or White Dog" the 2 versions of "Everybody's Gotta Live"(neither of which combined equals the definitive version found on Reel To Real) The 2 versions of "You Want Change For You Re-run(looking glass looking at me)" is the younger sister of "Midnight Sun" from the excellent 'Black Beauty'acetate."He Knows A Lot Of Good Women or Scotty's Song" "Hamburger Breath Stinkfinger" and "Ol'Morgue Mouth" and the demo of "Ezy Rider" included is great [though not as great as Jimi's version(s)]Vindicator is still as excellent as it ever was,but by all means wait for the new remastered version coming out around Oct-Nov'07,it should have all the imperfections on the '97 re-issue ironed out.Hopefully they'll get around to releasing everything Lee ever recorded before WE slip to the other side.
By Jeffrey M. Jordan

Tracks :

01 - Sad Song
02 - You Can Save Up To 50 Procent But You're Still A Long Ways From Home
03 - Love Jumped Through My Window
04 - Find Somebody
05 - He Said She Said
06 - Every Time I Look Up I'm Down Or White Dog (I Don't Know What That Means)
07 - Everybody's Gotta Live
08 - You Want Change For Your Re-Run
09 - He Knows A Lot Of Good Woman (or Scotty's Song)
10 - Hamburger Breath Stinkfinger
11 - Ol' Morgue Mouth
12 - Busted Feet
13 - Everybody's Gotta Live (Bonus)
14 - He Knows A Lot Of Good Women (Bonus)
15 - Pencil In Hand (Bonus)
16 - E-Z Rider (Bonus)
17 - Looking Glass Looking At Me (Bonus)

Link : http://rapidshare.com/files/150540707/Vindicator__Bonus_Tracks_.rar

Ripped by : evermoreblues
Artwork Included

JODY GRIND - ONE STEP ON 1969

JD is one of those early 70’s UK proto-prog that enjoys a semi-legendary status mostly because their two albums were highly sought- after by collectors along with Indian Summer, Cressida and a few others. I must admit that I like most progheads hailed these groups as they received early 90’s Cd reissues that made them fairly easily obtainable and allowed us to discover those small-unearthed gems. But some 15 years later, have those groups kept their early discovery magic? Not really, if you ask me. Most progheads marvelled at these unearthed albums (me included) because they got reissues in very dire times (just before the start of the second prog boom in 93-4), so the famined proghead was maybe a bit too enthusiastic back then, just as they were in the 80’s with those neo-prog groups that wouldn’t raise an eyebrow today.

JD delivered only two albums, but did so fairly early and disappeared relatively quickly from the scene, even if all three members would find future adventures throughout the rest of the decade. With this haunting and bizarre artwork, their first record was a very honest and thrilling debut, even if it was a bit indulgent in terms of songwriting. Indeed most of the tracks have a jam-derived structure, especially the sidelong title-track that included a rendition of the Stones’ Paint It Black and a drum solo. But with their organ-driven hard prog, the group manages to stray fresh, energetic and maintain your enthusiasm, sometimes by short brass/horn section bursts that provided incredible surges of power and intrigue, Hinkley’s organ providing much of the sound, but was often superbly seconded/answered by Holland’s fiery guitar solos.

The flipside unveils what they were taunting us with: the horn section coming in a full part of their music. Indeed Little Message and Night Today appear as almost full-blown brass rock: while not abusing of them either, this remained quite tasteful and as powerful as when Atomic Rooster used the brass section. The lengthier (almost 7-mins) blues-rock USA is a real pleaser and the highlight of this side of wax, while the closer is a Foghat-like boogie-RnR track without much interest.

This debut album came out when the adjunction of heavy horn/brass arrangements was obviously the craze, but if JD’s debut bows to that trend/fad, they do not succumb to it either: their brass section is made of guest musicians and are not part of the group. While hardly essential on a prog scale, JD’s first album is a pleasant affair even if at times they could’ve been slightly more concise. - Sean Trane, (Hugues Chantraine) Prog-Folk Specialist

Tracks :

1. One Step On (18:47)
- a. In My Mind
- b. Nothing At All
- c. Interaction
- d. Paint It Black
2. Little Message (4:42)
3. Night Today (5:04)
4. U.S.A. (6:41)
5. Rock 'n' Roll Man (4:31)

Link : http://rapidshare.com/files/150277658/Jody_Grind.rar

Ripped by : evermoreblues

Artwork included

JERRY CORBETTA & SUGARLOAF - DON'T CALL US WE'll CALL YOU 1973

Sugarloaf was a Denver, Colorado-based rock & roll band in the 1970s featuring Jerry Corbetta. Nickname: The Mile-High City Official website: http://www. ... Rock and roll (also spelled Rock n Roll, especially in its first decade), also called rock, is a form of popular music, usually featuring vocals (often with vocal harmony), electric guitars and a strong back beat; other instruments, such as the saxophone, are common in some styles. ... The 1970s decade refers to the years from 1971 to 1980, inclusive. ...

The band was originally known as Chocolate Hair. They changed their name to Sugarloaf, named after a mountain range in Colorado, when they received their first recording contract.

The 1975 album Don't Call Us, We'll Call You was a re-release of their 1973 album I Got A Song, with one of the tracks on the earlier album replaced by the title track of the later album, which had become a hit single.

They are best known for two songs, both of which hit the top 10 charts in the United States: "Green-Eyed Lady" in 1970, and "Don't Call Us, We'll Call You" in 1975. Other songs which charted on the Billboard Magazine top 100 singles charts were "Mother Nature's Wine" (1971), "Tongue in Cheek" (1971), and "Stars In Our Eyes" (1976). In addition, "West of Tomorrow" and "Myra Myra" were not hit singles, but received modest airplay at the time of their release on album rock radio stations. An example of a Billboard Magazine. ...

The song "Don't Call Us, We'll Call You" is notable because it contained a practical joke at the expense of CBS Records, which had just turned them down for a recording contract. The song includes the sound of a touch-tone telephone number being dialed. That number was an unlisted phone number at CBS Records, and would have dialed that number had a telephone been held up to the speaker as the song played. A popular practical joke is to completely block someones doorway while he/she is in the room. ... Columbia Records is the oldest continually used brand name in recorded sound, dating back to 1888. ... Dual-tone multi-frequency (DTMF), also known as Touch Tone® is used for telephone signaling over the line in the voice frequency band to the call switching center. ... The telephone or phone (Greek: tele = far away and phone = voice) is a telecommunications device which is used to transmit and receive sound (most commonly voice and speech) across distance. ...

Jerry Corbetta later went on to perform with the groups Wild Cherry (best known for their hit "Play That Funky Music"), and Disco Tex and the Sex-o-Lettes (best known for their hit "Get Dancin'").

Tracks :


I Got a Song
Myra, Myra
Lay Me Down
Wild Child
Don't Call Us, We'll Call You
Lookin' For Some Fun
Round and Round
Colorado Jones
Easy Evil
I Got a Song (Reprise)
Boogie Man
Texas Two Land
Stars in Her Eyes
Last Dance

Link : http://rapidshare.com/files/150279191/Jerry_Corbetta___Sugarloaf_-_Don_t_call_us_we_ll_call_you_1973.rar

Ripped by : evermoreblues
Artwork included

NITZINGER - ONE FOOT IN HISTORY 1972

One Foot In History is just a gem. At this point, Nitzinger employed Bugs Henderson as their second guitarist, though he appeared practically on every song on the first album--just remember the "Beware of Bugs" warning was referring to Bugs Henderson. I will always love this album. I've played the vinyl to the point where Cripple Gnat Bounce is beginning to skip on two occassions--and this is an original copy. But on side one,Take a Picture, Motherlode, God Bless the Pervert,and Eartheater complement each other very nicely. There's some excellent dual guitar work on all four songs. Very tight compositions which have to be blasted in order to be appreciated. Driftwood is a great song, and I believe it's placed strategically at the end of side 2 two give our eardrums a rest, but it's definitely not filler. There is no such thing as filler on a Nitzinger album. Side two opens with two great guitar duos,Let the Living Grow and The Cripple Gnat Bounce. It has you bouncing around and getting all sweaty ... By the way, Cripple Gnat Bounce was redone by Bugs Henderson and the Shuffle Kings on his Four Tens Strike Again Album back in 1996. I suggest that you look for it. And Bugs once again covered Hero of the War on his 1998 CD, Have Blues Must Rock--and I highly recommend both albums. The album winds down--if you want to call it that--with the title track, ONe Foot in History--which always gets me singin' out loud, and Uncle John--another great Southern heavy folk rocker. This is just one excellent ground breaking album which should have put Southern Rock & Roll on its ears. - Jeffrey D. Prill (Peoria, Illinois United States)

Tracks :

01 Take a Picture
02 Motherlode
03 God Bless the Pervert
04 Earth Eater
05 Driftwood
06 Let the Living Grow
07 Cripple Gnat Boune
08 One Foot in History
09 Uncle John
10 Texas Blues, Jelly Roll (Bonus)
11 Power Glide (Bonus)

Link : http://rapidshare.com/files/149929779/Nitzinger_-_One_foot_in_history_1972.rar

Ripped by : evermoreblues
Artwork Included

AUTUMN PEOPLE - S/T 1976

This American progressive unit hailed from Arizona, but musically they were closer to European groups like Triumverat and Focus. Their lone self-titled album, originally released in 1976 and reissued by Radioactive, has a darker musical edge than either of those groups or American contemporaries like Kansas or Saga. Lyrically, however, it is every bit as cheesy as other mid-'70s prog rock as the frolicking elves of "Rock and Roll Fantasie" will attest. It's the mix of dark, complex playing filled with Mellotron, flute, fantastic drumming and slick guitar pitted against light, almost breezy melodies about weighty subjects like angels ("Gabriel"), outer space ("Moon's Dancing") and the devil ("Coffin Maker") that make this album notable. However the appeal of the Autumn People is more than likely limited to hardcore prog rock collectors and fans of private press oddities.

~ Wade Kergan, All Music Guide

Tracks :

Rock and Roll Fantasie
Feeling
See It Through
Never See the Sun
Gabriel
Ovoid and Cubicle
Moon's Dancing
Interlude
Coffin Maker

Link : http://rapidshare.com/files/149929084/Autumn_People_st_1976.rar

Ripped by : evermoreblues

Artwork included

A COMPLAINT RECEIVED...

preacher said...

I have removed the link from my list, would you care to tell me what led to this request?

9/30/2008

Chuntao said...

Yo Preacher.

Thank you from removing my link from your blogroll/link list.

I did not think you would be so foolish as to ask why I asked you to remove my list, but just go ahead and remove it. My message on your cbox would disappear in a few days and we don't need to speak of it again. But now you leave me no alternative. I have also taken the liberty of deleting your comments from a very early post where you approach me wanting to swap links. I had only posted 3 items at the time I think. In my naivety I took you you up on that offer.

You thought that you could take advantage of a noob, by the fact that I have made this blog "nofollow' thereby increasing 'link juiice'. Well Preacher, sorry to burst your bubble, but I have changed it back so as this comment and yours can be viewed without your site getting any credit.

So why did I ask you to remove my link. Well I found not just you but others bloggers that are just copying and pasting other professional journalists reviews of albums on your sites. It's ok to lift full pages from answers.com and wikipedia (even though they are for research and under GNU, but shoudn't be abused, and not for turning your site in a mini-encyclopaedia, but to pretend that you have written pieces that are word for word from music people from 'All Music Group' etc etc etc whose job it is, is to review albums is plagarism and theft. And that is wrong. Because your are a from eastern europe and your english might not be as good as someone whose first language is english doesn't give you or anyone else the right to steal other people's work.

I know that you will galantly respong to this, saying that I am talking poppycock. But if anyone who reads this puts - site:name of site in google, you will see a list of all indexed pages on any given site. Then use copyscape.com and input that address into their field you will find out that basically not one word in any piece written by you is yours. It has been lifted from somewhere else. The only words that are yours are when you get around to answering someone in your chatbox. Or asking someone for a link exchange.

Other sites which carry this plagarism and down right thievery and actually might be run by the same person as many posts seem to mirror each other and they are actually linked up (strange) apart from

EVERMOREBLUES.BLOGSPOT.COM

01. chrisgoes.blogspot.com
02. chriswentrock.blogspot.com
03. chrisgoesrocks.blogspot.com
04. orexisofdeath.blogspot.com
05. ampolletade60.blogspot.com
06. secretfunspot.blogspot.com

There are more but some of these sites have a huge following and very high ranking and I'm surprised search engines haven't picked up on this sooner.

So Preacher Man, you asked the wrong question to the wrong person and I hope that this answers.com it.

And any of you who are affiliated with these blogs/sites I strongly urge y'all to cuts ties with them, if you have any sense.

C.

9/30/2008

preacher said...

Thank you for the extensive answer. I never said that those reviews were mine. You know , it's a huge process , posting this music to some of us with actual work. Ripping the music, making scans, posting the music... Try to work 10 - 12 hours a day, come home, do your everyday choirs , and then post 2-3 albums a day. Only the upload process takes about 2 hours ! Try doing this ever day ! So yeah, I copy the reviews from legitimate sources . And i post them at my blog , those reviews have only one purpose, to educate the people who don't have the clue what kind of album is posted there. To have an idea what kind of music it is. Some of us ENJOY the actual art presented there , the actual MUSIC.
And I am truly sorry if you can't understand what I am talking about , that's how we, the Eastern Europeans write and talk English ...

9/30/2008

Chuntao said...

Preacher,

You are saying that those reviews are yours by not reciting where you got them in the first place.

No, what you are doing and everyone else mentioned on my list, so far ,are not giving the credit for those reviews to those who wrote them and revealing those sources at the end of the piece and misleading fellow bloggers and casual surfers alike, that not only can u upload 2-3 albums a day but somehow manage to write 3-5000 words a day? Are you Doestovestsky. No. Well quote your sources rather than steal the sources work.

If you notice from some of my links on some my my succinct reviews, I give the link willingly to the source eg wiki, therefore I don't need to CTRL C+V & milk it and it gives the user a chance to explore more info for themselves.

As for art you talk about, I lurve music as much as anyone else. Perhaps more so as I am only truly interested in rarities and bootlegs, not stuff that still has copyright on it. Maybe 95%. And in case you noticed I post alot of albums that cannot be gotten anywhere else unless you buy them as a digital download or happen to have them on vinyl. Because they are deleted or OOP.

Therefore not only are you stealing peoples written work sorry art, you are stealing musician's art also. You and the other's are common thiefs and are a joke to the blogging community. Coz I thought a blog - web log - is all about your voice not 5 or 6 others people's voices joined together. Are u schizophrenic or do you have multi-personality disorder?

And we are to believe that with all the resources available on the internet you need to rip music, yeh right and the amount of sites that have millions of CD & album covers you need to scan it, yeh right. You probably don't work either , so you are just a sham.

And before I go, It seems that you don't have time to listen to the music, in order to write any constructive or not and by regurgitating someone else's words parrot-fashion, you really don't know anything. FYI it takes 10-15 minutes to upload an album. There you don't work if u r on dial-up!

So you & your plagarizing cronies can leave me alone and by the way before Google shuts us all down, you need to go back to every post and quote your sources. Coz you can fool some of the people some of the time ...

bye

PS Don't send another message as I will not publish.

IF ANYONE FEELS THE SAME AS CHUNTAO , PLEASE LEAVE THIS BLOG IMMEDIATELY, THIS IS NOT A PLACE FOR YOU, AS I STATED BEFORE , PLEASE BUY YOUR MUSIC !!!