Sunday, September 7, 2008

WILLIE DIXON - I AM THE BLUES


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









Tracks :

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

9. The Same Thing

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

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Posted by preacher at 10:11 PM 2 comments

JOHN RENBOURN & ROBIN WILLIAMSON - WHEEL OF FORTUNE

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









Tracks :

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


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

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Posted by preacher at 9:54 PM 1 comments

KHAZAD DOOM - ENCORE


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tracks :

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

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

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Posted by preacher at 9:42 PM 0 comments

CHRIS DE BURGH - SPANISH TRAIN & OTHER STORIES


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

Tracks :

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

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

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Posted by preacher at 9:22 PM 1 comments

PETE BROWN & IAN LYNN - PARTY IN THE RAIN

Posted by preacher at 9:15 PM 0 comments

LEB I SOL - I & II 1978


LEB I SOL (Eng. "Bread and Salt") was a premier fusion ex-Yugoslavian band. They were formed on 1 January 1976 in Skopje, the present "Former Yugoslavian Republic of Macedonia", with the original line-up consisting of: Vlatko Stefanovski-guitar and vocals, Bodan Arsovski-bass, Nikola Dimusevski-keyboards and Dimitrije Cucurovski-drums. In mid-1977 Garabet Tavitijan replaced Cucurovski on drums and this line-up would last until 1980, making the first three albums of largely instrumental Macedonian ethno-jazz-fusion that remain their best work so far. Dimusevski left in 1980, to be replaced for a short time by Miki Petkovski (ex-SMAK) but he also quit shortly. The remaining members decided to continue as a trio (without keyboards), so the fourth album introduced a change of music direction from pure jazz-fusion into more rock-based territory, retaining some ethno-fusion elements but making them more accessible to mainstream pop/rock audience. Tavitijan left in summer 1982 and his replacement was Dragoljub Djuricic, ex-YU GRUPA drummer. The same year they changed their record label from Belgrade-based PGP RTB to Zagreb-based Jugoton. The 8th album "Tangenta" was produced by the Canterbury scene veteran Kevin Ayers. Tavitijan was back on drums in 1986, while the following year they added saxophone and keyboards for "Kao kakao" album, making another radical shift towards AOR laid-back sound with all vocal tracks, including several pop-hits, abandoning prog explorations almost entirely. Dimusevski was back in team for the last studio album "Putujemo" in 1989, while Djuricic again replaced Tavitijan on drums for the North American tour and "Live in New York" album in 1991. They played their farewell concert in Thessalonica, Greece, December 1995, after which LEB I SOL disbanded. Stefanovski and Arsovski founded their private label Third Ear Music in 1990 and continued with successful solo careers.

In the beginning LEB I SOL were much under influence of SMAK, especially in similar attempt to marry the jazz-rock instrumental approach with the traditional Balkan sounds. First two albums are essential collection of excellent instrumental songs often covering the Macedonian traditionals. "Rucni rad" is their most demanding effort, exploring the deep space of jazz improvisation, while the fourth album, although reduced to basic rock trio, still carries the spirit of fusion. Stefanovski was always considered one of the best guitarist of the former Yugoslavia, although his technique is quite similar to Allan Holdsworth's or John McLaughlin's. Arsovski was on the other hand a champion of the fretless bass playing.

Similar artist on the international scene would include WEATHER REPORT, GONG or MAHAVISHNU ORCHESTRA, so LEB I SOL is highly recommended to the fans of these. Also those in favour of Canterbury scene or ethnic-fusion will probably find many interesting moments in listening to LEB I SOL albums. Their late 1980s work would appeal to the listeners of a laid-back jazzy type of art-rock. This is the most important and the most popular Macedonian band of all times and one of the best ex-Yugo bands.

Tracks :

Leb i sol 1

1 Devetka 4:20
2 Pod Vodom 4:58
3 Utrinjska tema 3:20
4 Kokoška 5:00
5 Nisam tvoj 3:21
6 U senci 3:38
7 Čudo za tri dana 2:55
8 Pesma o Sonji H...5:12
9 Damar3:28

Leb i sol 2

10 Akupunktura 4:08
11 Kako ti drago 3:58
12 Aber dojde donke 4:49
13 Talasna dužina 4:09
14 Dikijeva igra 4:09
15 Uzvodno od tuge 4:10
16 Marija 6:30
17 Bonus

Link :http://rapidshare.com/files/143334828/Leb_i_Sol_I_II.rar

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Posted by preacher at 1:54 PM 0 comments

Saturday, September 6, 2008

[ BY REQUEST ] SHIRLEY & DOLLY COLLINS - LOVE, DEATH AND THE LADY


Following on from Fledg'ling's exemplary box set Within Sound, which finally gave the career of one of England's finest folk singers the respect she was due; the same label now brings us the albums that her reputation rests upon. Those unfamiliar with the late 60s and early 70s canon of Shirley and her non-vocal sister Dolly may be in for a shock. This is harsh primordial territory. Murder ballads, tales of wrong-doing and punishment meted out by an uncaring society do little to further the perennial prejudice that all British folk is 'hey-nonny-no-under-the-greenwood' stuff. Forget Nick Cave - Shirley and Dolly got there first...

Often seen as a mere companion piece to the previous year's Anthems In Eden, Love, Death... is, perhaps, Shirley and Dolly Collins' true masterpiece. Both albums, significantly, appeared originally on the Harvest label; the home of progressive rock, but also of some truly out-there cross-pollinated acts such as the Third Ear Band and Kayak. Shirley began her career as a companion to Alan Lomax on his song-collecting trips around the states and by the mid-sixties had claimed her place in the folk pantheon by fusing traditional ballads with newer song structures by accompanists such as a young Davey Graham.

On the previous Anthems (1969) her sister helped create a loose concept around a series of renaissance songs, underpinned by the virtuosity of members of the Early Music Consort of London such as Christopher Hogwood, Alan Lumsden and Adam Skeaping;plus the percussion of Pentangle's Terry Cox. By 1970, with both sisters in marital crises (both albums were produced by Shirley's husband, Austin John Marshall) the stage was set for a far bleaker set, albeit with the same band.

It's as though Collins poured her strife into her choice of material. These traditional tales are heavy with gloomy metaphor. The opening ''Death And The Lady'' recounts the struggle of a woman with the reaper. Songs such as ''Polly On The Shore'', ''Plains Of Waterloo'' and ''Geordie'' all take the loss of a loved one as their main theme; while elsewhere maidens are frequently mistreated (''The Outlandish Knight'', ''Are You Going To Leave Me?'') or even murdered (''The Oxford Girl'' and the frankly self-explanatory ''Young Girl Cut Down In Her Prime'').

In keeping with this material, Dolly's arrangements are sparser; giving Shirley's voice more space to approach an almost trance-like state. Yet for all the flattened (and quite often musically naïve) delivery she manages to retain a wonderful humanity. It's as if her pain raises the material to an almost universal level of significance. But then again, by this point she well knew that these snippets of our history had been forged from centuries of common experience. They're archetypes in which all of our cultural expressions are rooted and, as such, transcend any 'Olde Englishe' stereotype you care to put on them. This is one album that'll still be as relevant in a hundred years time.

Tracks :

  1. Death and the Lady (4.08)
  2. Glenlogie (3.48)
  3. The Oxford Girl (2.00)
  4. Are You Going to Leave Me? (2.54)
  5. The Outlandish Knight (5.05)
  6. Go From My Window (2.35)
  7. Young Girl Cut Down in Her Prime (3.42)
  8. Geordie (4.59)
  9. Salisbury Plain (2.40)
  10. Fair Maid of Islington (2.18)
  11. Six Dukes (2.30)
  12. Polly on the Shore (3.10)
  13. Plains of Waterloo (8.04)
Band members :

Shirley Collins, vocals;
Christopher Hogwood, harpsichord;
Alan Lumsden, sackbut;
Adam Skeaping, bass viol, violone;
Roderick Skeaping, bass viol;
Eleanor Sloan, rebec;
John Fordham, recorder;
Dolly Collins, flute-organ, piano;
Terry Cox, percussion;
Peter Wood, concertina [6, 12|

Link : http://rapidshare.com/files/143176966/Love_Death_lady.rar

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Posted by preacher at 9:34 PM 2 comments

THE CLIMAX BLUES BAND - PLAYS ON


The Climax Chicago Blues Band based in Stafford, England was formed in late 1968. The original members were guitarists Derek Holt and Peter Haycock, keyboardist Arthur Wood, bassist Richard Jones and drummer George Newsome. Colin Cooper on vocals and saxophone made up the sextet. In 1970, the band shortened its name to the Climax Blues Band. The band has released eighteen albums and has had Top 40 hits in 1976 in the UK with "Couldn't Get It Right"; and in 1981 in the United States with "I Love You". The two songs were also big American hits; "Couldn't Get It Right" reached #3 on the Hot 100 in 1977, and "I Love You" reached #12 in 1981.







Tracks :

01-Flight
02-Hey Baby Everything's Gonna Be Alright Yeh Yeh
03-Cubano Chant
04-Little Girl
05-Mum's The Word
06-Twenty Past Two , Temptation Rag
07-So Many Roads
08-City Ways
09-Crazy 'Bout My Baby



Band members history :

Link : http://rapidshare.com/files/143166039/climax_plays.rar

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Posted by preacher at 8:12 PM 0 comments

G.F. FITZ-GERALD - MOUSEPROOF

One of the most unconventional albums ever recorded, this avant-garde psychedelic suite contains elements of folk, jazz, rock and electronica, but has a sound and atmosphere all of its own. Recorded in 1970, but barely released (despite the enthusiastic support of John Peel), original copies now sell for astronomical sums. Full album download comes complete with comprehensive liner notes.


Origin: London, UK
Released: 1970/MCA, 2006/Sunbeam

Produced by Roger Watson and G.F. Fitz-Gerald
Engineered by Martin Rushent, Steve Moyce, Jack Amos and Neal Sax.
Recorded in Advision Studios, London, 1970




Tracks :

1 April Affair
2 New Lodger
3 Country Mouse
4 It Takes More Than a Clear Day to See It
5 May Four
6 Ashes of an Empire/The End
7 Under and Over the Waterfall
8 A Movement Lost in Twilight Stone
9 Political Machine
10 Opal Pyramid Drifting Over Time

Band members :

G.F. Fitzgerald - vocals, lead guitar, acoustic guitars, electric banjo, piano, bass guitar, gifflid, percussion, moog
Alan Place (Scorpio) - vocals and lead guitar on 'Country Mouse'
Rod Herman (Libra) - lead guitar on 'April Affair'
Brian Cole (Gemini) - steel guitar on 'Country Mouse'
Judy Dyble (Aquarius) - vocals on 'Ashes Of An Empire'
Geoff Leigh (Libra) - alto, tenor & flute
Rick Kenton (Scorpio) - bass guitar
Ian Andrews (Leo) - double bass, bass guitar, mellotron and moog
Sam Gopal (Sagittarius) - tablas
Ted Tetlon (Aquarius) - drums
Tony Turnbull (aries) - drums

Link : http://rapidshare.com/files/143168584/fitz-gerald.rar

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Posted by preacher at 7:54 PM 2 comments

PETE FINE - ON A DAY OF CRYSTALINE THOUGHT



Great early 70´s guitar concept album with little progressive touch to it. Only 100 copies released at the time this is a very rare and sought after collectors piece. Beautifull vocals, great guitars, strings, horns, sound-effects, an amazing studio production. Pete Fine is a master on the electric and accoustic guitar. An electric Psychedelic Concerto.












Tracks :

01. Revelation, Prelude, For Sam
02. Meditations
03. Looking Ahead
04. Sunrise
05. Life
06. Moo
07. Bijinkies
08. Rita

Band Members :

  • Pete Fine - guitar, vocals, percusion, organ
  • Sam Hardesty - vocals, percusion
  • Rhina Cueves - flute
  • Monte Farber - bass
  • Mike Kimmel - drums
  • Rob Leon - piano, timpani
Link : http://rapidshare.com/files/143171808/pete_fine.rar

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Posted by preacher at 7:27 PM 6 comments
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