вторник, 31 июля 2007 г.

WINTERHAWK – THERE AND BACK AGAIN – 1978 (US) hard rock

Winterhawk - There and Back Again CD is a trip back in time to the Aragon Ballroom in Chicago circa 1978! Jordan Macarus deals out solo after solo of some of the hottest fretwork I've ever laid ears on! Massive Winterhawk classics like "Off the Bat," "There and Back Again," "Creatures of the Sea," "In the Wake of Things Yet To Come" and more revealed for the first time in over 20 years!!
- "For those of you un-enlightened to the guitar talents of Jordan Macarus, this live CD will be a revelation for you. The guitar work is stunning, the songs are perfect and bring to mind the twin lead stylings of Wishbone Ash and even in parts reminds of a what a 70's version Iron Maiden might have been" - (Shroom Records)
Sanctuary (5:27)
In The Wake of Things Yet to Come (8:40)
Hammer and the Axe (6:41)
Creatures of the Sea (13:08)
Off the Bat (8:18)
Interlude (1:15)
There and Back Again (9:23)
Drum Solo (1:25)
Free to Live (10:10)
Bad Influence (4:35)
Too Much of Nothin' (4:08)

Monster records has discovered another classic 70's rock album, featuring the great Jordan Macarus on guitar. Capturing this great live show from Chicago back in 78' was quite a find. This band would not even release their first studio album for another two years, pretty amazing. Check out "Sanctuary" and the southern stomper "Off the Bat".

thanks to Chris

Highly recommended!
Rip from Cd@224 (full artwork included)
Download link
http://link-protector.com/254163/

WINTERHAWK – REVIVAL – 1982 (US) hard rock

Winterhawk's lengthy underground saga as the Midwest's best-kept hard rock secret finally gained some recognition upon the reissue of their lone official studio album, 1982's Revival (recorded under less than ideal circumstances, following numerous breakups and makeups) when it was brought to compact disc by underground music trawlers Monster Records. But lest the release date fool you, let it be absolutely clear that Winterhawk's earthy hard rock aesthetics -- spiced with progressive rock and the slightest Southern rock touches -- were very much a product of the 1970s, the band having originally formed in '77. Sure enough, Revival's driving intro and structurally elastic "Sanctuary" combines a classic '70s melodic hard rock-sound with traces of funk, touches of metal, glimpses of Southern rock, and generous slices of progressive rock, which together bring to mind bands as ambitious as Deep Purple and as rootsy as the James Gang, and prog acts as diverse as fellow Midwesterners Kansas, and Welsh originals Budgie. The last two references owe much to the acrobatic range and frequent high notes struck by vocalist/bassist Doug Brown, but it's unquestionably the regularly dazzling fretwork of guitarist Jordan Macarus that provides the foundation of Winterhawk's every move. Whether harmonizing with himself, Thin Lizzy-like, on most every number, alternating gently picked classical guitar figures with crunchy power chords à la Randy Rhoads on the title track, or peeling off a jazzy, fleet-fingered display while proving quite the capable singer himself on "Ace in the Hole," Macarus is in fine form, and even without any of the above, one would only need to hear his beautifully fluid soloing on the stunning album centerpiece "Period of Changes" (not quite Steve Morse, but close) to realize that here was a particularly innate and versatile six-string talent. Granted: "Can't See the Forest for the Trees" isn't totally successful at its more generic (and indefensibly dated) faux-Southern rock jauntiness, and the protracted epic "Free to Live" (like an uncomfortable cross between Rush and Lynyrd Skynyrd) wanders on just a bit too long for comfort, but they are hardly capable of derailing Revival from its well-deserved "minor underground classic" status. Following the original album's seven tracks, the CD reissue contains three bonus cuts comprising two studio demos from 1986 (the half-decent instrumental "Fallen Dinosaur," and the '80s production-tarnished "Eliah"), and a 1978 live performance (the pretty rockin', somewhat Rush-like "Hammer and the Axe") from one of Winterhawk's earliest shows at Chicago's Aragon Ballroom.

Doug Brown - Vocals,Bass
Jordan Macarus - Guitars,Bass,Vocals
Scott Benes - Drums
01. Intro 3:41
02. Sanctuary 5:25
03. Period of Change 7:15
04. Can't See the Forest for the Trees 5:35
05. Revival 6:04
06. Ace in the Hole 5:05
07. Free to Live 9:23

Just a quick note on Winterhawk. I took a chance on Revival and its 45 minutes of very nice guitar rock. The singer(not sure if its Marcus) sounds a lot like Rik Emmet of Triumph. Not a bad thing makes them sound a lot like Triumph with more guitar. Anyway a nice addition to ay collection.

thanks to Chris

Highly recommended!
Rip from CD 320@ (full artwork included)
Download link
http://link-protector.com/254164/

GALAXY - DAY WITHOUT THE SUN – 1977 (US) heavy space rock

Galaxy's "Day Without the Sun" was originally released in 1976. The original private pressing has always been very hard to come by and demands a small fortune now. This collector item delivers tripped out psychy prog rock with guitars, vocals, bass, keys and drums.
FRENZI FABBRI gtr
SPACE MAMA GEIGER keyb'ds
PEPPER LEONARDY bs
MISS GUNNER POWELL drms
1. Space mountain
2. Green stuff
3. Look what you done
4. Galaxy
5. Sky queen
6. Day without the sun
7. Everybody Down
8. Woman Of Love

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/254165/

понедельник, 30 июля 2007 г.

PAICE ASHTON LORD - MALICE IN WONDERLAND – 1977 (UK) hard rock

The Deep Purple spin-off project Paice Ashton Lord were formed by ex-Deep Purplers Ian Paice (drums) and Jon Lord (organ) with Tony Ashton, who had been in the Remo Four during the British Invasion era and then in Ashton, Gardner & Dyke (famous for "Resurrection Shuffle"). When they got together in mid-1976, Deep Purple had just broken up; for the sole Paice Ashton Lord album, the sound was filled out by guitarist Bernie Marsden and bassist Paul Martinez. That LP, Malice in Wonderland, was not nearly as heavy as Deep Purple had been, though it still owed much to mainstream British hard rock. However, there was a fair amount of jazz influence in the arrangements (which sometimes included brass) and some soul ingredients to the songwriting. All of this didn't add up to anything more than an average mid-'70s rock album, the kind you could have heard as filler on numerous AOR-oriented FM stations at the time. You didn't, though, since the album didn't sell much, and Paice Ashton Lord disbanded, although they did start work on a second LP.

Ian Pace (drums)
Tony Ashton (vocals, keyboards)
Jon Lord (organ, keyboards)
Bernie Marsden (guitar)
Paul Martinez (bass)
A great and very different album from some world class musicians. PAL was comprised of Paice and Lord, fresh out of the ashes of Deep Purple, Bernie Marsden, ex-UFO and Babe Ruth, Tony Ashton, ex-Ashton, Garder & Dyke and Family, and bassist Paul Martinez, ex-Stretch. A unique group of musicians, who together put together an infectious debut LP that completely missed the public's radar screen. Critics raved about it, but the record buyers avoided it like the plague. It wasn't like Deep Purple, or Family, or Babe Ruth or Stretch, it was different. Maybe too different. I just know that from the first time I heard it, I loved it. It's got a groove to it that is just unstoppable. In particular, Ian Paice plays his drums like he never did in Purple. This is jazzy, R&B, with a dash of rock, a pinch of soul and a little bit of everything else thrown in for good measure. The only downside is in the vocal department. Tony Ashton has a pretty much one-dimensional voice, rough and gravelly. It works for awhile, but for an entire album it's too much. Bernie Marsden does a decent job of singing on a couple of songs, but his voice is a bit bland at times. Still, it might have fared better if he'd have sung the whole album. That aside, I'd highly recommend this one to fans of talented musicians taking chances. Too bad they folded before their second album was complete, PAL had potential. Even sadder is the fact that half the band eventually wound up in Whitesnake. Marsden wrote some great songs in that band and maybe he would have written them for PAL instead. In the hands of a real band, they could have been magnificent.

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/247624/

BABE RUTH – KID’S STAFF – 1976 (UK) heavy progressive

The end of the line for Babe Ruth. The hints of progressive rock and jazz that lurked within their previous albums are pretty much gone, as is their fine lead singer Jenny Haann, and the results are uninspiring. The sing-song lyrics of "Welcome to the Show" and the disco rhythm of "Since You Went Away" are no help, either. Without the power to sustain their old fans and the novelty to bring in new ones, they've painted themselves into a corner. Still, the band manages a last hurrah by closing out with the rousing "Keep Your Distance" and the smoldering blues of "Living a Lie."

ED SPEVOCK drms
STEVE GURL keyb'ds
BERNIE MARSDEN gtr
ELLIE HOPE vcls
RAY KNOTT bs
1 Oh! Dear What a Shame 4:34
2 Welcome to the Show 5:12
3 Since You Went Away 3:37
4 Standing in the Rain 4:37
5 Sweet, Sweet Surrender 3:57
6 Oh! Doctor 3:46
7 Nickelodeon 2:43
8 Keep Your Distance 4:26
9 Living a Lie 6:05

Great album. It sounds like 1976. Very rare edition!

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/247625/

воскресенье, 29 июля 2007 г.

BUDGIE - HEAVIER THAN AIR - Live at the BBC – 1972-1981 2CD (UK) hard rock

Heavier than Air: Rarest Eggs is a double-disc set containing nothing but previously unreleased Budgie songs. There are both live recordings and studio outtakes on the collection, with the live cuts outnumbering the studio material by a wide margin. There's nothing particularly revelatory here, and it is certainly just for Budgie fanatics, but they'll likely be pleased by this well-assembled set.
CD1
1 Rape Of The Locks 6:08
2 Rocking Man 5:36
3 Young Is a World 8:37
4 Hot as a Dockers Armpit 5:42
5 Sky High Percentage 5:40
6 In The Grip of a Tyrefitter's Hand 5:46
7 I Turned to Stone 6:10
8 You're a Superstar 3:54
.9 She Used Me Up 3:09
10 Hot as a Docker's Armpit 5:52
11 The Author 6:57
12 Whiskey River 4:25
13 Nude Disintegrating Parachutist Woman 8:13

CD2
1 Breadfan 6:06
2 You're the Biggest Thing Since Powdered Milk 8:09
3 Melt the Ice Away 3:55
4 In The Grip of a Tyrefitter's Hand 6:12
5 Smile Boy Smile 4:25
6 In For Kill/You're the Biggest Thing Since Powdered Milk 7:04
7 Love For You and Me 4:28
8 Parents 10:20
9 Who Do You Want For Your Love 6:29
10 Don't Dilute The Water 6:04
11 Breaking All The House Rules 6:30
12 Breadfan 7:40

Classic underated British Rock band.This was a very welcome release a while back.Theres some rare recordings here as well as classic live material.

Highly recommended!
Rip from CD 256@ (full artwork included)
Download links
http://link-protector.com/247620/
http://link-protector.com/247621/
http://link-protector.com/247622/

HAWKWIND – SPACE ROCK FROM LONDON 14.10. 1972

BBC Radio 1 Live In Concert is a 1991 live album of a 1972 concert by Hawkwind.

"It was recorded straight to quarter inch tape - there were no overdubs and no possibility of remixing. This particular performance was also continuous for one hour which made for an interesting change over when the programme was aired since the reels of tape only lasted approximately 30 minutes each." - Jeff Griffin, BBC In Concert series producer.

This concert is still regularly aired by BBC Radio on the Live at Midnight slot on the BBC 6 Music channel. Despite Griffins' claims that remixing is not possible, the broadcast version does sound markedly different from the CD release, having greater clarity and definition on the instruments and vocals. The broadcast version also has some brutal edits, removing the first 4 minutes of "Brainstorm", and during "Earth Calling" and the end credits.

Recorded: 28 September 1972, Paris Theatre, London
Broadcast: 14 October 1972, BBC Radio 1 In Concert

Dave Brock - guitar, vocals
Nik Turner - saxophone, flute, vocals
Lemmy - bass guitar, vocals
Dik Mik Davies - Synthesizer
Del Dettmar - Synthesizer
Simon King - drums
Stacia – Announcements
Andy Dunkley – Announcements
"Born To Go" (Calvert/Brock)
"Seven By Seven" (Brock)
"Brainstorm"
"Master Of The Universe" (Turner/Brock)
"Paranoia" (Hawkwind)
"Silver Machine" (Calvert/Brock)

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/247619/

CREAM - THOSE WERE THE DAYS - 4 CD Boxed Set

This boxed set contains the complete released studio recordings, alternate takes, new material (2 CDs), live recordings (with some variations as described below) (2 Cds), and an extensive essay with lots of great photographs. They have been re-mastered and the live recordings also re-mixed. I will only review the new or variant material.
The re-mastering has cleaned up the Fresh Cream recordings and sharpened up Disraeli Gears and Wheels of Fire (Studio). Felix’s production work has not been altered. They’ve done a good job and retained the original sound – though I’m sure some will disagree with me.
The Live recordings have been seriously renovated for the best. The balance between instruments is now fairly uniform across all the recordings with the imbalance and channel swap of the Goodbye tracks corrected. It’s the drums that really benefit – sharper and higher in the mix (aaah, modern technology!) and the bass guitar is also cleaner. Yes, a great improvement with the Winterland recordings definitely having the sonic edge.
Second Opinion (11th Dec. '97): While listening to the Grande Ballroom bootleg Jack's fuzzy/buzzy bass sound is obvious like the vinyl and original CD's (also check out Jack Bruce Live at the BBC, a 1971 recording not '77 as credited). November Guitar World has a photo of his original EB3 (now owned by Bruce Gary) but the interesting thing is that it states that it has a special diode installed by Dan Armstrong, the guitar designer, which gives it that trademark fuzz but this was after Cream. Also the EB3 is a short scale bass (30" vs 34" standard) which also contibutes to his sound. On the live tracks they seem to have cleaned up the bass too well and significantly reduced that fuzzy tone. That's too much of updating the past to suit modern ears!
Being presented within a concert context strengthens all the live recordings. However it should be recognised that Cream did sets of around an hour so these are not really accurate portrails. But it works well as you can imagine going to the Winterland for the 1st Show (plus bonus encore!) and then coming back for the 2nd(plus bonus encore!)
DISC 1: IN THE STUDIO
Fresh Cream Sessions:
1 Wrapping Paper
2 I Feel Free
3 N.S.U.
4 Sleepy Time Time
5 Dreaming
6 Sweet Wine
7 Spoonful
8 Cat's Squirrel
9 Four Until Late
10 Rollin' And Tumblin'
11 I'm So Glad
12 Toad
Disraeli Gears Sessions:
13 Lawdy Mama - (previously unreleased, version 1)
14 Strange Brew
15 Sunshine Of Your Love
16 World Of Pain
17 Dance The Night Away
18 Blue Condition
19 Tales Of Brave Ulysses
20 Swlabr
21 We're Going Wrong
22 Outside Woman Blues
23 Take It Back
24 Mother's Lament
DISC 2: IN THE STUDIO
Wheels of Fire Sessions:
1 White Room
2 Sitting On Top Of The World
3 Passing The Time - (unedited version)
4 As You Said
5 Pressed Rat And Warthog
6 Politician
7 Those Were The Days
8 Born Under A Bad Sign
9 Deserted Cities Of The Heart
10 Anyone For Tennis
Goodbye Cream Sessions:
11 Badge
12 Doing That Scrapyard Thing
13 What A Bringdown
Various Sessions:
14 Coffee Song, The [Fresh Cream Sessions]
15 Lawdy Mama - (vers 2 [Disraeli Gears Sessions
previously released on Live Cream])
16 You Make Me Feel -
(previously unreleased, demo version
[Fresh Cream Sessions])
17 We're Going Wrong -
(previously unreleased, demo version
[Lost Session])
18 Hey Now Princess -
(previously unreleased, demo version
[Lost Session])
19 Swlabr -
(previously unreleased, demo version
[Lost Session])
20 Weird Of Hermiston -
(previously unreleased, demo version
[Lost Session])
21 Clearout, The -
(previously unreleased, demo version
[Lost Session])
22 Falstaff Beer Commercial -
(previously unreleased incl voice intro)
DISC 3: LIVE
March 1968 Live Recordings (Fillmore, Live, Live II):
1 N.S.U. - (previously unreleased alternate)
2 Sleepy Time Time
3 Rollin' And Tumblin'
4 Crossroads
5 Spoonful
6 Tales Of Brave Ulysses
7 Sunshine Of Your Love
8 Sweet Wine
DISC 4: LIVE
March & October 1968 Live Recordings
(Fillmore, Goodbye, Live II):
1 White Room (not a good remix!)
2 Politician (Live Cream Vol II version)
3 I'm So Glad
4 Sitting On Top Of The World
5 Stepping Out
6 Traintime
7 Toad - (Wheels of Fire - Live at the Fillmore + edit)
8 Deserted Cities Of The Heart
9 Sunshine Of Your Love ("The Glen Campbell Show")
(previously unreleased)

Thanks for Kitsos

Highly recommended!
Rip from CD 192@

суббота, 28 июля 2007 г.

EUCLID – HEAVY EQUIPMENT – 1970 (DUTCH) hard rock

Euclid "Heavy Equipment" CD reissue of little known classic hard rock psychedelic record originally released on the Flying Dutchman label in 1970. Holy hell that first track is a real winner clocking in at over 11 minutes and blasting forth with real monster heavy riffs at the 3/4 way mark! The whole album is a pretty solid hard rocker too with loud drums, bass and guitars! This was something I had wanted to reissue myself someday, but it looks like someone beat me to it! One of these guys originally played with Beatles-psych legends Lazy Smoke (another classic you'll be able to find here pretty soon).

"Jay and Gary Leavitt, along with Bobby Herne, made their first musical rumblings in 1966 as the Cobras, releasing the New England garage classic "I Wanna Be Your Lover"/"Instant Heartache". Fast-forward to 1970 and the brothers, joined by Ralph Mazotta (ex-Lazy Smoke) and Harold Perino Jr. (aka "Maris"), transformed into the hard psychedelic aggro Euclid, signed to Bob Thiele's Flying Dutchman subsidiary Amsterdam and were one of the few (only?) "rock" releases on either label (a notable exception being the rare Minx soundtrack by The Cyrkle). Herne, manning the producer's chair (a role he would later repeat for The Shaggs' Philosophy Of The World LP), created a "bad trip" spiked with backwards tape effects, darkly-phased vocals, all instruments set to "pummel" and an album title certainly eligible for the "truth in advertising" award! Tread carefully dear listener, as Gary, Bobby, Maris and Bob have all passed on due to various circumstances over the years..."
1 Shadows of Life 11:32
- On the Way
- Bye Bye Baby
2 Gimme Some Lovin' 3:38
3 First Time Last Time 2:52
4 Lazy Livin' 5:57
5 97 Days 3:11
6 She's Gone 2:47
7 It's All Over Now 3:23
Euclid: S/T is amongst the very best in it's genre which is most certainly Heavy Rock at it's best. The musicians themselves were excellent & very experienced, coming from a diverse New England Garage & Psych rock background. One of the coolest things about this album is the overall evidence of the group members various background influences on it. In Euclid, you get the very best of it all. You have the raw & ferocious high energy Garage element mixed with a very clear and real psychedelic conviction. These over shadowing characteristics combined with their new heavy/hard rock discipline & focus, resulted in one of the best early Heavy Rock albums ever recorded in the United States. The combined pinnacle of the member's instrumental development is equally matched by their amazing crystalline vocal harmonies. This was all offset by the lead vocalist's "take no prisoners" brutal male vocal stylings. The production on this record is absolutely top notch and can't help but to give the music it's unstoppable heavy forward momentum. Very much living up to the group's namesake, the guitar, bass & drums on this record, in typical earth moving fashion, will level any and all resistance in their path. In short, Euclid were one of the true "unsung" fundamental cornerstones in the emerging commercial US Hard/Heavy rock movement. KILLER! From start to finish.

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/247615/

ZAKARRIAS – ZAKARRIAS – 1971 (UK) heavy psych

Exact limited reissue in a thick card sleeve of the excellent rare UK Deram psych / prog monster from 1971 even down to the label. One of the more interesting albums on the label with powerful distinctive male vocals, heavy guitar, bass keyboards and string arrangements. A bit like T2 in places... certainly a grower.
The Band, which is quite unknown even today, was founded by Bobby Haumer (lead singer & bass). Bobby was actually known as Zakarrias. Other band members were guitarist Huw LLoyed - Langton (who co-founded the legendary space rock band Hawkwind, which he left in 1970 to return only after 9 years), drummer John Lengton (playing as well with Stomu Yamashta / Manfred Mann) and Samy Birnbach, lyrics. This is the rarest of all albums released on the famous Deram label. The Deram label was the more progressive / experimental sub-label to the U.K. Decca label. It features the first recordings by bands such as "The Moody Blues", "David Bowie" and "Cat Stevens". An official reissue was made in the 1990's by Deram-Japan. The value of an original copy in mint condition will easily bring you 500EUR in cash at the least in no time.
Zakarrias has a rather enigmatic approach to rockin': He does it without the typical lead guitar breaks, or loud, crunchy electric rhythm guitar one would normally find on a rock LP of this era. Instead, his approach is all about the tension and release built by using his reedy vocals together with acoustic piano and guitar, and an excellent rhythm section. The electric guitar and Hammond organ are both used but are mixed in subtly. I describe these things because they constitute a novel approach to arranging a rock LP of this era, in my view.

The songwriting style is bluesy yet also progressive and jazzy, since he incorporates many tempo changes within a given track. Furthermore, he also uses horns subtly with no blaring solos. His compositions don't burn, they smolder.

Zakkarrias is a master of rhythm and mood on this his first and only LP.

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/247616/

CAPTAIN BEYOND – FROZEN OVER – 1973 Arlington, TEX

The ultra-rare live bootleg by Captain Beyond. Recorded live at Arlington, Texas in 1973 with original line-up, this live album features all classic CB tracks like Dancing Madly Backwards, Distant Sun, Mypopic Void etc. plus an excellent guitar solo from Rhino & a fantastic drum solo by Bobby Caldwell and lastly, a rendition of Jimi Hendrix's Stone Free. This is definitive CB live in concert & by far, the best sounding live bootleg by them (there's no official live album of Captain Beyond). Rod Evans reaps through this set while Rhino & Bobby Caldwell are consistent as ever. This gig shows the real dynamics of the band & proves how great they were in live settings. Sad that Captain Beyond didn't last long, but their impact on today's heavy prog/stoner rock revivalists is evident..
1. Taped Intro (Voygers Of Distant Travelers)
2. Distant Sun
3. Dancing Madly Backwards On A Sea Of Air
4. Armworh
5. Myopic Void
6. Drifting In Space
7. Pandora's Box (It's War)
8. Thousand Days Of Yesterdays
9. Frozen Over
10. Butterfly Bleu (Guitar Solo)
11. Mesmerization Eclipse
12. Drum Solo
13. Mesmerization Eclipse (Reprise)
14. Stone Free

Rod Evans: Lead Vocals/Tambourine
Larry "Rhino" Reinhardt: Lead Guitars/Backing Vocals
Lee Dorman: Bass/Backing Vocals
Bobby Caldwell: Drums

Highly recommended!
My mastering 256@OGG (full artwork included)
Download links
http://link-protector.com/247617/
http://link-protector.com/247618/

пятница, 27 июля 2007 г.

CLEAR BLUE SKY - CLEAR BLUE SKY – 1970 (UK) heavy progressive

Clear Blue Sky were still in their teens when they were discovered by Nirvana's Patrick Campbell-Lyons, and their youth shows. Clear Blue Sky, the trio's one and only album, is a mishmash of hard rock leanings, prog rock fascinations, and occasionally jazzy delivery that is best regarded today by collectors of classic Vertigo albums and early Roger Dean artwork. John Simms' vocals are extraordinarily uncertain, and the record itself sometimes sounds more a youth club rehearsal than a major-label release. Campbell-Lyons' production doesn't help much either, remaining strictly in the sonic background. That said, it is certainly an ambitious effort -- a freshman term paper for aspiring young metalheads. Side one is devoured wholly by "Journey to the Inside of the Sun," a three-part thunderclap that not only provided labelmates Black Sabbath with the title "Sweet Leaf," it also rode rock's current fascination with the classics by hijacking an element of Gustav Holst's The Planets suite for an occasional quirky interlude. Other diversions crop up on side two, as "Tool of My Trade" and the almost acoustic "My Heaven" at least kick off with something less than the full frontal riffery of the other numbers, while the closing "Birdcatcher" (the band's best-known number, courtesy of its inclusion on the fabled Heads Together, First Round Vertigo label sampler) sounds extraordinarily close to period Budgie and, "Sweet Leaf" aside, is the best-developed track on the album.

John Simms - guitars, vocals;
Ken White - drums;
Mark Sheather – bass
1 Journey to the Inside of the Sun
a. Sweat Leaf 9:30
b. The Rocket Ride 5:51
c. I'm Coming Home 3:05
2 You Mystify 7:45
3 Tool of My Frade 4:50
4 My Heaven 5:00
5 Birdcatcher 4:10

Considered a classic of the early seventies by a number of critics, the debut album from Clear Blue Sky was released at a time when the rock world was undergoing a number of radical changes. The psychedelic era was coming to a close with progressive rock taking over the mantle of rocks' leading genre. However, not all bands followed the modus operandi of progressive rock bands, using classical music and jazz music as the platform for their musical trip. Some bands, most notably those within the hard rock genre, used a form of heavy blues as their launching pad.

Clear Blue Sky were just one of these bands that have a most definite blues influence. However, their ability to introduce a number of variations within their musical structure such as subtle classical influences as well as a degree of complexity that went beyond the average band enabled their music to be appreciated by a wider range of audiences.

The album starts with the suite, Journey To the Inside Of The Sun which occupied the whole of Side 1 of the original vinyl album, and is in itself subdivided into three tracks. The opening Sweet Leaf is a real stomper, with a classical blues riff. As can be expected, a line-up comprising guitar, bass and drums could be rather limited in the amount of musical diversity that can be created, yet on the other hand the band manage to carry this off well. The opening nine and a half minutes (all of Sweet Leaf) are instrumental with John Simms belting out one guitar solo after the other, ably backed by Sheather and White. On the other hand one can note the classical influence on these musicians when occasional the stomp is abruptly stopped with a short classical interlude (played on guitar of course!) taken from Dvorak's New World Symphony. This is the same symphony that The Moody Blues were meant to record for Decca to promote stereo sound, and which ended up as The Days Of Future Passed, and the subsequent birth of progressive rock!

The Rocket Ride, is the track that tends to feature on most compilations that include a track from Clear Blue Sky and starts with a Hendrix-like riff, however the track takes an unexpected twist with some rapid changes in time signature and key just before the entry of Simms on vocals. The track proceeds on a blues-based foundation though the occasional twist and turn does occur, as happens also with I'm Comin' Home. At times there are traces of Cream, whilst at others one feels that the riffs that shift from an almost acoustic feel to a more abrasive distortion are on a par with Jimmy Page's riffs with Led Zeppelin.

You Mystify has the band letting all hell let loose with Simms' searing guitar work. The shifts in time signature are continuous, once again proving the group's ability to go beyond the routine twelve bar format. Tool Of My Frade also has a backing Hammond, which stays firmly in the background, just adding to the fullness of the sound thus allowing for Simms to do away with the distortion, and even introduce an acoustic guitar. As always the guitar work is fantastic, but a word must be put in for the rhythm section, most notably Ken White's drumming which is constantly changing creating the perfect backbone for Simms and his guitars.

My Heaven and Birdcatcher bring the album to a close. My Heaven could be considered to be the mellower of the two with the backing resembling a style that many alternative musicians would utilise to great effect in later years, Jeff Buckley being an example. the track itself blends both hard and acoustic rock, making it one of the more easy listening tracks on the album. On the other hand Birdcatcher is a straight forward track with another Zeppelin-esque riff featuring plenty of blues influences. Of particular interest on this closing track is use of a flute which adds that Jethro Tull touch to the track. This touch as well as the interlude halfway through the track which has just flute and guitar with footsteps used to keep the beat create and incredibly fantastic atmosphere.
After hearing this album, one can understand why this band was labelled as a progressive rock band. It is true that prog-rock bands are normally associated with keyboards, something which this band lacks. However, on the other hand Clear Blue Sky managed to introduce a number innovative features that places them well above the majority of similar blues-based trios from the same era. The occasional classical innuendo coupled with their ever changing time signatures allowed for them to be classified well within the progressive rock genre, as is fitting. When one listens to this album, one can understand why this band were seemingly destined to greatness, but unfortunately fate had other plans!

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/247611/

CLEAR BLUE SKY - DESTINY – 1971 (UK) heavy progressive

The first two songs on the album, the title-track and Pick Up, are simply wonderful, by all means. Especially impressive is that they not only follow the vein of the best tracks from the previous album, but also show a logical compositional development in comparison with them and, most importantly, in terms of diversity of themes and arrangements. There are more than enough progressive things in Destiny and Pick Up to regard them as real progressive killers, though the presence of brilliant keyboard parts and solos (by an unknown yet very talented keyboard player) on the title-track makes it a winner. (To this very style Hawkwind came in 1974 on the "Hall of the Mountain Grill" album.) In all other respects Destiny and Pick Up are like twin progressive brothers, whose place is exactly at the head of the album's track-list. Although other songs are also very good on their own right, the first two tracks surpass all of them in all senses. In other words, the further development of events on "Destiny" isn't too rich on events as such, as it was the case with the previous album, too, when The Journey To the Inside of the Sun was just finished. In respect of musical progressiveness, tracks 3 to 6, Bottom of Your Soul, Follow the Light, Back On the Road Again, and Vagabonds, have more or less the same characteristics as Mystify, Tools of My Frade, and I'm Coming Home from the swirled with Vertigo's indifference (to its real status) "CBSII" album. The only detail (which is major, though, - with regard to the band's firm style, formed already during the "Out of the Blue" recording sessions), that differ from most of the "Destiny" tracks from the "CBSII" album almost as a whole, is the presence of a solid number of elements that make up the Space Rock sound. Of course, it also feels great to hear John's wonderful solos (as well as a lot of other musical moves) firmly backed by his own heavy and strong riffs. The closing three songs of original "Destiny" album are the shortest tracks here. The 7th track, When I Call Your Name, with another invisible guest (or were these two guests just ghosts?), performing a couple sax solos, is the most mellow song on the album, whose stylistic "sister" may be the previous album's closing track. Both the following songs Waiting for the Day and Killing Time structurally are, in itself, similar to the Four that go right after the two opening masterpieces, but there is too little playing time in each of them to stretch a more or less large-scale musical palette.

John Simms - guitars, vocals
Ken White - drums
Mark Sheather - bass
1 Destiny
2 Pick Up
3 Bottom of Your Soul
4 Follow the Light
5 Back on the Road Again
6 Vagabonds
7 When I Call Your Name
8 Waiting for the Day
9 Killing Time

A great step forward (return to form, keeping in mind "Out of the Blue"?) that the band took on the first two tracks of "Destiny" is, unfortunately, marred with a series of more accessible songs in the way typical for Clear Blue Sky's previous album, though I really like this good, original, hard-edged proto-progressive. There are, however, as many as three songs that are too simple to these ears on the band's third album (tracks 7 to 9), so even counting Could This Be the Way, I can't estimate "Destiny" higher than just a very good album and only as a whole. Actually, I think at the time of "Destiny" the band already showed signs of stagnation. Destiny is the word. But Destiny loves those who can find the strength to bounce back and the return of the mighty Clear Blue Sky is really glorious

Highly recommended!
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CLEAR BLUE SKY – COSMIC CRUSADER – 1996 (UK) heavy progressive

The second Clear Blue Sky conceptual album "Cosmic Crusader" brims with innovative, true Progressive Space Rock from start to finish. You may ask why I should define the album's contents so categorically, while there is the only, short yet obvious exception, which almost entirely contradicts with my words. The answer is simple: when I program the album on my CD-player I just exclude the 3-minute sugary ballad Every Living Thing and listen to the 46-minute long "Cosmic Crusader" album, which is really full of all those wonderful things. As for the so roughly destroyed lyrical conception, I have time to read the lyrics of Every Living Thing in the album's booklet before The Serpent's Venom begins. So let's start. Opened with nice spacey instrumental intro Earth, the Rock and closed with the title-track, which is a long (9-minute) epic and a majestic musical flight to the farthest spaces of spacey music, "Cosmic Crusader" is, in my view, the best album among all those that represented the sub-genre in the 1990s, including Hawkwind. All the album's songs-nuclei, beginning with The Age of Dinosaurs, down through The Serpent's Venom, Picture Puzzle, Highway of Fire, People of Darkness, and to conclude with Supernatural, contain all the essential ingredients of real Progressive Space Rock. Variegated fluid guitar solos are either supported by heavy, hypnotic guitar riffs or surrounded by flowing spacey waves. Unusual beats of the heart of the Universe are reflected by the excellent drumming, while pulsating bass lines remind of the signals of pulsars. Meanwhile the soaring vocals of the starship's Commander tell a story of the Earthly people, forgotten somewhere in the spaces of time and in the times of space, who have forgotten themselves and, having lost their way in a wood of just two trees of Good and Evil, can't even imagine that they, Entities of the United Universe, are actually just waiting for another big bang. Beautiful voices of an Unearthly female Entity sometimes responds to Commander's thoughts, confirming them, and the flashes of the dying stars, accentuated by the effects of keyboards and guitar-synth, echo these monologues.

John Simms - guitars & vocals
Ken White - drums
Kraznet Montpellier - bass (except: * by Tad Landon)
Adam Lewis - keyboards
Maxine Simms - backing vocals



1 Earth, the Rock 4:15
2 The Age of Dinosaurs 6:23
3 Every Living Thing 3:15
4 The Serpent's Venom 4:41
5 Picture Puzzle 7:01
6 Highway of Fire 4:14
7 People of Darkness 5:07
8 Supernatural 4:54
9 Cosmic Crusader 9:41

Not counting the last shadow of the past ballad-syndrome in the face of Every Living Thing, the "Cosmic Crusader" album signifies not only the glorious return of Clear Blue Sky, but also the revival of real Progressive Spacey Rock, now renewed and improved according to the conditions of the contemporary Progressive Rock movement. This album also became a starting point for creating one of the most significant, magnificent works (if not just the best album) of the sub-genre "Mirror of the Stars", with which the Pioneers of Progressive Space Rock become real Kings of the Kingdom, founded by them themselves far back in 1968.

HIGHLY RECOMMENDED!!!
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четверг, 26 июля 2007 г.

EARTHERN VESSEL – EVERLASTING LIFE – 1971 (US) heavy psych/hard rock

From Lansing, Michigan band, although their rare album is on a Tennessee label. The 45 cuts are on the album. The group played hard rock with male and female vocals (overtly religious lyrics) punctuated by loud fuzz guitar.

DAVE CAUDILL gtr, vcls
KEN FITCH vcls, keyb'ds
ED JOHNSON drms
SHARON KEEL vcls, keyb'ds
JOHN SPRUNGER bs, vcls
1 Life Everlasting 6:00
2 You Can 4:37
3 Let Jesus Bring You Back 4:55
4 I've Been Walking 8:57
5 Coming Home 2:58
6 Get High 4:40

Good heavy and bluesy psychedelic rarity that goes for mega bucks (apparently less than 100 vinyl copies were originally pressed). The lyrics are very Christian and very evangelical, which is just fine by me, and there are plenty of them. But the music, ah the music is VERY good. Sharon Keel sounds more than a little like Grace Slick. Nice fuzz bass...extended guitar jams...organ...they sure do crank and jam their way though this meaty slab.

Highly recommended!
Rip from CD 256@ (full artwork included)
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IRON BUTTERFLY – SCORCHING BEAUTY – 1975 (US) hard rock

Five years after their breakup, Iron Butterfly reunited in 1975 and released Scorching Beauty, an undistinguished album that fell between the group's heavy acid rock and mid-'70s arena rock conventions.

Erik Brann – Lead Guitars/Lead Vocals Except on Tracks 3,7, and 9
Howard Reitzes – Keyboard/Lead Vocals on "Before You Go"
Phil Kramer – Bass/Vocals/Lead Vocals on Tracks 3 and 7
Ron Bushy – Drums
It's really hard to defend an album when not even the group itself liked it, but this has always been my favorite Iron Butterfly LP, as, even without Doug Ingle, it has the same spirit and structure as IAGDV and Ball.

Look, it's simple: before the advent of AC/DC, Iron Butterfly was, at least in its classic incarnation, the quintessential "dumb-ass rock band". The melodies were simplistic, the lyrics were slight, and stylistic variation was minimal. You either appreciated it for what it was, despite its obvious limitations, or you dismissed it forever. There was no middle ground. When the group tried for something loftier, as on Metamorphosis, it seemed spurious and hollow, like someone speaking in five syllable words and constantly pronouncing them wrong.

Scorching Beauty never tries to gloss itself or cover up its warts. Instead, it carries on the tradition established in '68-69. It's simple, repetitive, and unadorned. It is what it is. Erik Brann's voice sounds like a horrible cloning experiment wherein Dolly Parton's trebly warble is crossed with a Eureka Upright. However, if it weren't for the pair of honest-to-God stiffs that open up both sides of the album. In fact, songs like "Hard Miseree", "Lonely Hearts", and "Before You Go" sound like what should have comprised side one of Blue Cheer's New! Improved!. It's loud and raw, but with more of a sense of melody that BC's first couple of sonic assaults.

I can't make the people who hate this album hate it any less, but who cares? It's only rock and roll, after all.
Highly recommended!
Rip from CD 256@ (full artwork included)
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IRON BUTTERFLY – SUN AND STEEL – 1976 (US) hard rock

If the 1975 comeback Scorching Beauty was faceless, Iron Butterfly's 1976 follow-up, Sun and Steel, was an outright disastrous attempt at reshaping the band's signature sound to '70s hard rock conventions, lacking even the curiosity value of Scorching Beauty.

Erik Brann - Lead Guitar, lead vocals
Ron Bushy - Drums
Alex Quigley - Marimba, background vocals, tamborine
Phil Kramer(Philip Kramer) - Bass, vocals
Bill DeMartinez – Keyboards
1 Sun and Steel 4:01
2 Lightnin' 3:01
3 Beyond the Milky Way 3:38
4 Free 2:40
5 Scion 5:02
6 Get It Out 2:53
7 I'm Right, I'm Wrong 5:27
8 Watch the World Going By 2:59
9 Scorching Beauty 6:44

The lineup was different of course, but it's pretty much a wash across the board. Doug Ingle wasn't a visionary or anything, so he isn't here, who cares. They did leave their neo-psychedelia behind when they regrouped for their two mid '70's efforts. At least.
Of course, they can't do the arena rock thing all that well, but it's still Iron Butterfly, so if you like them at all you should like this one as well.

Highly recommended!
Rip from CD 256@ (full artwork included)
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среда, 25 июля 2007 г.

STONEWALL – STONER – 1974 (US) hard rock

An extremely rare, privately pressed hard rock album with some psychedelic trappings. This type of album is far more likely to interest hard rock enthusiasts than connoisseurs of psychedelia and is a very marginal case for inclusion. Solitude and Atlantis are probably the most relevant tracks to this book.
The band are thought to have been based in New York.

FRANCIS CRABB keyb'ds, gtr, vcls
JOHN T. MILANI drms, perc
ROBERT "BOBBY" RONDA ld gtr, vcls, hrmnca
LEWIS WHITTAKER bs, vcls
01. Right On
02. Solitude
03. Bloody Mary
04. Outer Spaced
05. Try And See It Through
06. Atlantis
07. Suite
a) I'd Rather Be Blind
b) Roll Over Rover

Great early 70's hard rock album from this NYCity band. In the vein of Bad Company and Blue Cheer. Not a song over the five minute mark, this album just rocks from beginning to end.

Thanx for James from Taiwan

Highly recommended!
Rip from CD 256@ (full artwork included)
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IRON CLAW – DISMORPHOPHOBIA – 1970-1974 (UK) hard rock

Jimmy Ronnie (guitars), Wullie Davidson (lead vocals, flute, harmonica), Alex Wilson (bass), Billy Lyall (mellotron, piano, saxophone, percussion), Ian McDougall (drums, percussion)
1 Claustrophobia 5:05
2 Let It Grow 2:42
3 Gonna Be Free 3:37
4 Lightning 3:35
5 Pavement Artist 5:16
6 Loving You 2:34
7 All I Really Need 3:13
8 Take Me Back 5:06
9 Knock 'Em Dead 2:51
10 Winter 6:00
11 Strait-Jacket 4:52
12 Rock Band Blues 4:08
13 Real Mean Rocker 3:17
14 Spider's Web 3:11

Strange compilation. The style of the music is late 70's hardrock from England as say White boy and Average rat band BUT the sound is more early 70's kinda like Blue Cheer meets el cheapo 70's Fuzz pedal that gives that BIG dynamic near reverb like sound, confusing? I thought for long this was a rip off recording done in the late 70's by a band that wants to be early 70's hardrock band!

Highly recommended!
Rip from CD 256@ (full artwork included)
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http://link-protector.com/245292/

WARPIG – WARPIG – 1970 (CAN) hard rock

Terry Brett (bass), Rick Donmoyer (vocals, guitar), Terry Hook (drums), Dana Snitch (keyboards, vocals, guitar)
1 Flaggit 3:10
2 Tough Nuts 2:18
3 Melody With Balls 6:02
4 Advance Am 7:30
5 Rock Star 4:11
6 Sunflight 4:30
7 U.X.I.B 7:39
8 The Moth 5:08

This Ontario act have the distinction of being one of the few bands to release the same album on two different occasions on two different labels (the London Records version the following year) with different covers with both being worth nearly identical pretty pennies. I can’t really name another band/album with that strange honor, so we’ll just call that the ‘fun fact’ of the review.

I’ve heard many different opinions about this rare album, mostly from people who were hearing it for the first time, spurting out influences from Deep Purple and Sabbath to Iron Butterfly and even Nektar. Honestly, I believe them to be a cross between Deep Purple and, during their faster moments, Uriah Heep. Perhaps it’s just the flowing, almost carefree vocals of Rick Donmoyer that remind me of UH. Maybe it’s the keyboard-choired hardness that is reminiscent of DP. At any time, these seven tracks (eight listed) can be ominous, then free-flying, and supposedly have sensitive lyrics (“…digging in the garbage heap…”, “…the dead begin to die…”).

“Flaggit” and “Advance AM” are speedy hookers that don’t have as thick a sound as Heap’s “Easy Living”, but are still great for blowing by station wagons on the highway. Threatening are the Sabbath-with-keyboards “Tough Nuts” and very Deep Purple-ish “Sunflight”. The wordless “Melody with Balls” almost harks ahead with a Handful of Rain-era Savatage sound at times, but the pre-80s keyboard twiddling brings it back into classic rock focus. “Rock Star” is a cool little number with a breaking melody nestled within an even-keeled rhythm, though they do overstate the chorus a bit. The finale, either “U.X.I.B.” or “The Moth”, is the true oddball of the group, swamped in sudden drum work, another ultra-breaking riff, and a bass-led melody that sounds like it’s running backward. Halfway through it bleeds into a very somber interlude that makes “Planet Caravan” sound energetic.

Highly recommended!
Rip from CD 256@ (full artwork included)
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THE FLYING HAT BAND (Glenn Tipton from Judas Priest) – DEMO – 1974 (UK) hard rock

The FLYING HAT BAND was a Birmingham club act that during the early 70s ranked alongside JUDAS PRIEST as the hot Midlands favourites to succeed. The band had evolved from SHAVE N' DRY, an outfit that comprised of GLENN TIPTON, initially on keyboards and guitar, bassist Dave Shelton, vocalist Pete Hughes and drummer Barry 'Spence' Scrannage. This act switched names to MERLIN before becoming THE FLYING HAT BAND.

The FLYING HAT BAND, originally a quartet featuring vocalist Pete Hughes (who quit to join the army), went through numerous line-up changes with a turn over that included bassists Andy Wheeler and Frank Walker and drummer Trevor Foster. The latter joined folksters THE ALBION BAND. Vocalist Steve Burton (later to front STARFIGHTERS) also sang lead albeit briefly before the band split with Tipton opting to carry on with the name. Scrannage meanwhile had a brief stint (3 gigs) with BULLION, another Hard Rock act coincidently created by JUDAS PRIEST men guitarist Ernie Chataway and bassist Bruno Stapenhill.

Tipton finally settled the FLYING HAT BAND line up as a power trio with ex-JACKRAT man Steve Palmer on drums (brother of EMERSON LAKE AND PALMER's Carl) and bassist Mars Cowling. The latter from the bizarrely titled GNIDROLOG, a Progressive Rock act that issued two albums in 1972 'In Spite Of Harry's Toenail' and 'Lady Lake'.

The group actually recorded an album for Vertigo Records, but this was never released due to its supposed similarity to BLACK SABBATH. The band folded following a European support tour to DEEP PURPLE when Tipton joined JUDAS PRIEST in May 1974.

Bassist Mars Cowling later joined Canadian guitarist PAT TRAVERS and would turn up briefly in the late 80s in the ranks of the Miami based GYPSY QUEEN, a female led group fronted by the identical twin Mattioli sisters Pam and Paula. Drummer Steve Palmer joined FRAGILE and later MANTLE/SWALLOW/PALMER. Tipton, of course, achieved wider recognition as JUDAS PRIEST gained international recognition and multi-platinum status.

Glenn Tipton (guitar / vocals)
Mars Cowling (bass)
Steve Palmer (drums)
1 - Seventh Plain
2 - Reaching For The Us
3 - Lost Time
4 - Coming On The Lord

In style Black Sabbath

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/245294/

вторник, 24 июля 2007 г.

SUDDEN DEATH – SUDDENLY – 1971 (US) heavy psych/hard rock

A Led Zeppelin - inspired early hard rock, which was issued by Rockadelic in 1995 from previously unissued tapes from circa 1971. The two exceptions are the opening track, My Time Is Over and Fugit Orchard, which are much mellower with some good laid back guitar moments. (Fuzz, Acid & Flowers)
01 - come away with me
02 - road back home
03 - it's lonely here
04 - the zoo
05 - my time is over
06 - leather woman
07 - country livin'
08 - crazy lady

Hysterical heavyrock madness from a strange combo that is reported to come from Long Island,New York and made this album in a N.Y studio and the year is 1972 according to Rockadelic, there is no bandmembers listed either I tried to surf around a bit to find something but no luck. Sudden Deaths only Lp Suddenly is a satanical evil looking beast, just a look at the mournful cover, a photo of two blackrobed priests and a couple of children holding up a cross behind a pile of skulls, its probably taken in South America it looks like it, could be a tribe or something. Suddenly is a powerhouse album, with banchee like vocals killer guitarwork and a awesome backing section, the tracklist varies from slow doomy atmospheric stuff like My Time Is Over and Road Back Home to powertunes like Leather Woman and Crazy Lady to the mellow melancholic Come Away With Me. The backgrounds of Sudden Death remains unknown where they came from and where they went, but Suddenly is a strong heavy acid rock album that gives a excellent documentation how powerful this band was.

Highly recommended!
Rip from vinyl 256@ (artwork included)
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JOSEFUS – JOSEFUS/ DEAD MAN – 1969/1970 2in1 (US) heavy psych/hard rock

Josefus was one of the first American bands to bridge late-'60s hard rock with early-'70s heavy metal. Their two albums, both released in 1970, were extremely influenced by early Led Zeppelin, and to a lesser degree other heavy British and American rock groups from the end of the '60s. Blues-rock formed much of the base; Pete Bailey's high tortured vocals owed much to the Robert Plant school, and the songs were built around crunching riffs. But the songs and riffs, mostly in a downbeat foreboding posture, weren't all that good. If Josefus was a pioneer, it was in the sense that the band was one of the first models for the blunt sound of Texas hard rock and heavy metal, to be expounded upon with much greater success by the likes of ZZ Top.Josefus' lead guitarist, Dave Mitchell, and bassist, Ray Turner, had played together in the high-school band Rip West (a couple of Rip West tracks appear on the three-CD Josefus box, Dead Box). Mitchell, Turner, and drummer Doug Tull later played together in a pre-Josefus band whose demo, "I Love You," can also be heard on Dead Box. Mitchell, Turner, and Tull changed their name to Josefus when singer Pete Bailey joined. Although Phillip White was in the first Josefus lineup as a second lead guitarist (and is heard on three early live tracks on Dead Box), he dropped out in late 1969.Shortly afterward, in December 1969, Josefus recorded an album's worth of material in Phoenix. The producer, Jim Musil, wanted the band to change its name to Come before the album came out, against the group's wishes, although the band did perform as Come for a few weeks. A single,"Crazy Man"/"Country Boy," from those sessions was released on the Dandelion label. But the album remained unissued, though it came out many years later under the name Get Off My Case. Frustrated by its non-appearance, the bandmembers went back to the same studio to record Dead Man, which combined re-recordings of songs they'd done in the December 1969 sessions with new material. Dead Man was recorded in one day in March 1970, and issued in a pressing of 3,000 on the band's own Hookah label for distribution in Texas.Josefus was a popular concert act throughout Texas in 1970, and recorded a second, self-titled album for Mainstream in Miami that came out later that year. This second album was a little less derivative of Led Zeppelin, and a little more wide-ranging in style, than the debut had been. The bandmembers were disappointed in it, though, and gave their final concert in December of 1970 at a Houston auto show. Josefus did reunite in the late '70s for some shows and recordings, putting out two singles on the Hookah label. These too appear on the three-CD Dead Man box, which combines the Dead Man and Josefus albums with a CD of live and studio rarities.

Josefus' second album was actually an improvement over the band's first (Dead Man), by virtue of its more versatile songwriting, slightly better riffs, and occasional drifts beyond sub-Led Zeppelin-style early metal. All that considered, it's still a pedestrian Led Zeppelin-like Texas take on early hard rock-metal, though Pete Bailey's vocals are a little less obviously in the Robert Plant mold this time around. Less blues-based than Dead Man as well, it contains some of their better songs in "America," which shows the influence of lighter California-styled psychedelia, the odd "Jimmy, Jimmy," apparently about a friend unfairly institutionalized for freaking out (inspired by fellow Texan Roky Erickson by any chance?), and, most surprisingly, the gentle country-rock of "Such Is Life."
JOSEFUS
1 Bald Peach 2:42
2 B.S. Creek 4:09
3 America 2:40
4 I'm Gettin' On 2:32
5 Sefus Blues 3:15
6 Jimmy, Jimmy 2:40
7 Feelin' Good 6:10
8 Condition 2:59
9 I Saw a Killin' 2:25
10 Such Is Life 3:06

This band is more well known for their first album. Originally released on Mainstream records this the bands second album is a fine slab I think. Kind of psychophide ZZ Top.


Josefus was Texas psychedelic with a capital fuzz and these tracks, recorded in 1969 and the following year, capture ht e group in full cry. The first six tracks are the original Dead Man album as it originally appeared on the local Hookah label while the following seven comprise the previously unreleased original version of the long player, known as Get Off My Case. While "Crazy Man," "Situation," "Country Boy,"and "Dead Man"appear on both albums, the different tracks are enough to give the semblance of a full album. With Pete Bailey's banshee wailings and Dave Mitchell's fuzz guitar, this was a band that perfectly nailed the sound and the time. Fans of pyschedelic retro should check this one out.
DEAD MAN
11 Crazy Man 3:44
12 I Need a Man 4:25
13 Country Boy 3:17
14 Proposition 4:46
15 Situation 1:58
16 Dead Man 17:29
bonus
17 Get off My Case
18 A Social Song

Monster with solid bluesy style. H E A V Y as Stonegarden. Forget all those overrated Heavy bands like Black Sabbath.
This album flatens them with ease.
If you want one of the absolute heaviest albums i existence, you can't fail with Josefus - Dead Man

Highly recommended!
Rip from CD 256@ (full artwork included)
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http://link-protector.com/245289/

понедельник, 23 июля 2007 г.

BEDLAM - ANTOLOGY (Unreleased And Live) - 2004

The 2-CD set ANTHOLOGY contains previously unreleased tracks and a full live CD recorded in New York, New York in 1974.
This is a two-disc collection of recordings by the 1970s hard rock act Bedlam, including their debut album, a radio broadcast, and several recordings not previously released.This two CD set contains 'The Studio CD' featuring '1812 Thrashed' plus 11 other tracks & six tracks recorded live in New York City, 1974 (FM live broadcast). Majestic Rock. 2004.

The 1973 debut 'Bedlam' album remains a classic. But, what came before? This 2 CD set tells the story of…'a band called Bedlam' and, on CD 2, contains theonly complete version anywhere of the legendary 1974 New York City FM live broadcast!
Thanks for Kitsos
Highly recommended!
Rip from CD 256@
Download links
CD1 - studio http://link-protector.com/247626/

HURDY GURDY - HURDY GURDY – 1971 (DENMARK) hard rock

Hurdy Gurdy arose out of the Danish group Peter Belli & the B.B. Brothers in 1967. Three of the B.B. Brothers -- guitarist Claus Bohling, drummer Jens Otzen, and English bassist Mac MacLeod, then temporarily based in Denmark -- split from Belli to form a psychedelic-hard rock-oriented trio. The band moved to England in 1968, after MacLeod had been deported. It's been reported that Donovan, a friend of MacLeod whom Mac had played with previously as a backing musician, wanted to produce a version of the band covering "Hurdy Gurdy Man," a Donovan composition. However, Donovan released his own hit version of the song, and Hurdy Gurdy didn't issue anything while MacLeod was in the group, despite doing some recordings produced by Chris White and Rod Argent of the Zombies. Two late-'60s tracks by the MacLeod lineup of Hurdy Gurdy, "Neo Camel" and "Tick Tock Man," eventually appeared on the 2003 MacLeod anthology The Incredible Musical Odyssey of the Original Hurdy Gurdy Man, and are rather loose and frenetic pieces of period guitar psychedelia.Bohling and Otzen had to go back to Denmark shortly after those recordings, owing to their inability to secure work permits. There they picked up a new bassist, and in the early 1970s recorded a self-titled album for CBS Scandinavia. The record, a routine, early-'70s hard rock offering with Hendrix-influenced guitar by Bohling.

1 Ride On 5:07
2 The Giant 4:56
3 Tell Me Your Name 4:26
4 Peacefull Open Spaces 5:16
5 Babels Tower 3:16
6 Spaceman 4:17
7 Lost in the Jungle 8:37
8 You Can Go Backwards 3:59
Bonus Tracks
9 Chain Me Down 5:40
10 Year Zero Now 3:06
11 Improv 4:38

Despite some killer-guitarplaying, this is in my opinion a bit up-and-down. Worth checking out, though, for fans of Scandinavian heavy progressive rock.

Highly recommended!
Rip from CD 256@ (full artwork included)

Download link
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LUV MACHINE - LUV MACHINE – 1971 (UK) hard rock

An extremely obscure and short-lived casualty of the early-'70s British rock scene, Luv Machine performed a heavy brand of psych and acid rock with progressive tendencies, funky grooves, and a rather unique cultural perspective, thanks to the fact that its founding members, Michael Bishop (guitar, vocals), Bob Bowman (guitar, vocals), and Errol Bradshaw (drums, vocals), had only recently relocated from their West Indies home of Barbados. Bassist John Jeavons became the band's lone England-born member when original bass player Merlin Norville grew weary of living in the U.K. and departed the group. After only a few months of rehearsing, Luv Machine were slated to record their debut single, Witches Wand, by the end of 1970 -- but the sessions quickly expanded into the makings of a full album that Polydor released in March of 1971, and whose songs boasted an obvious debt to both Anglo and American inspirations like Cream, Jimi Hendrix, and Vanilla Fudge. Unfortunately, the label provided no promotional or financial support and the group quickly fell apart, leaving only that one album to wallow in cult status and be given occasional reissues through the years, including 2006's retitled Turns You On.

MICHAEL BISHOP gtr, vcls
BOB BOWMAN gtr, vcls
ERROL BRADSHAW drms, vcls
JOHN JEAVONS bs, vcls
1 Witches Wand 2:44
2 You´r Surprised 2:40
3 It´s Amazing" 3:21
4 Happy Children 3:15
5 Everything 3:11
6 Maybe Tomorrow 4:15
7 Reminiscing 2:49
8 Change your Mind 2:53
9 Corrupt One 4:03
10 Lost 3:03
11 My Life Is Filled With Changes 3:08
12 Portrait of Disgust 4:47

Not the lost classic that some people believe. OK but not worth spending a lot of money on. Bluesy rock with riffs. Short on good tunes. This is now a very rare and sought-after album of heavy progressive rock

Highly recommended!
Rip from CD 256@ (full artwork included)
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LORD SIR BALTIMOR – KINGDOM COME/SIR LORD BALTIMORE – 1970/1971 2in1 (US) hard rock

Sir Lord Baltimore are a pioneering American heavy metal band from Brooklyn, New York, formed in 1968 by lead vocalist/drummer John Garner, guitarist Louis Dambra, and bass player Gary Justin. They are most notable for the fact that a 1971 review of their debut record, Kingdom Come, contained the first documented use of the term "heavy metal" to refer to a style of music. Additionally, Sir Lord Baltimore featured a drumming lead singer, traditionally a rarity in rock and metal music.

Their first studio release, Kingdom Come, was recorded at Vantone Studios in West Orange, New Jersey, with Jim Cretecos serving as Appel's co-producer. More notably, there were a number of overdubs also additional tracks that were mixed at New York, New York's Jimi Hendrix Electric Lady Studios by legendary engineer Eddie Kramer, better known for his work with Jimi Hendrix, KISS, and many others. According to Appel, British psychedelic rock band Pink Floyd had the opportunity to hear Sir Lord Baltimore during these sessions, and were reportedly impressed.
Released on Mercury Records in 1970, the resulting album featured very fast-paced rock 'n' roll with high levels of distortion in the guitar and, in some cases, the bass, and extensive multi-tracking to further enhance the guitar sound. Though this style of rock 'n' roll would become popular in later years, it was considerably different from the majority of that era's contemporary rock music.
On February 19-20, 1971, Sir Lord Baltimore played consecutive nights at New York's Fillmore East as the opening act on a bill that included The J. Geils Band and Black Sabbath, as part of the latter's Paranoid tour. (Sir Lord Baltimore played additional dates on this tour, as well.) A photo of the band used in the Fillmore East's programs was later used as the cover of their 2006 reunion album, Sir Lord Baltimore III Raw.
In May 1971, Mike Saunders (of later Angry Samoans fame) wrote a favorable review of Kingdom Come for Creem magazine. Of historical note was Saunders' assertation that "...Sir Lord Baltimore seems to have down pat most all the best heavy metal tricks in the book." To date, this appears to have been the first printed use of the term "heavy metal" to reference a musical genre.
Issued the same year, and again on Mercury, Sir Lord Baltimore marked a change in direction, with Kingdom Come's frenetic pace giving way to slower-tempoed songs more reminiscent of music produced by the band's hard rock peers. Sir Lord Baltimore expanded to a four-piece for this album, with Louis Dambra's brother, Joey Dambra, joining as a second guitarist. Furthermore, Sir Lord Baltimore contains the band's only officially released live recording, "Where Are We Going."
Their career started to fade after Sir Lord Baltimore's release, and Mercury dropped them shortly thereafter. The band publicly blamed drugs on the band's initial downfall, and low record sales were also a factor. It is believed, just 480,000 know copies for both albums combine. However, the band did start work in the mid-1970s for an unreleased third album originally scheduled for 1976, and music written for that project was eventually used on Sir Lord Baltimore III Raw.

John Garner - lead vocals/drums
Louis Dambra - guitar
Joey Dambra - guitar
Gary Justin - bass
"Kingdom Come" – 6:35
"I Got A Woman" – 3:03
"Hell Hound" – 3:20
"Helium Head (I Got A Love)" – 4:02
"Ain't Got Hung On You" – 2:24
"Master Heartache" – 4:37
"Hard Rain Fallin'" – 2:56
"Lady Of Fire" – 2:53
"Lake Isle Of Innersfree" – 4:03
"Pumped Up" – 4:07
"Chicago Lives" – 3:49
"Loe And Behold" – 3:46
"Woman Tamer" – 5:12
"Caesar LXXI" – 5:22
"Man From Manhattan" – 10:34
"Where Are We Going" [Live] – 3:19

Hard Rock fans, if you want to know who were the real pioneers of 60´s - 70´s Hard Rock and Heavy Metal you must listen this album. Sir Lord Baltimore is, surely, the most underated band of Hard Rock history. They are much, much better musicians, composers and innovators artist than Blue Cheer, Led Zeppelin, Black Sabbath or Deep Purple. Songs like "Chicago Lives" are the Holly Grial of future Heavy Metal. This song will remind you at a bunch of 80´s and 90´s heavy Metal bands. Perhaps Zeppelin or Black Sabbath give the sound at the early 70´s Hard Rock, but Sir Lord Baltimore went far beyond, they gave the sound at Heavy Metal of the future. Their influence in Heavy metal history is clear and awesome. "Sir Lord Baltimore" is a really Masterwork: fresh, innovator, wild, fierce, four musicians with ideas far ahead of their own time. A must have album !!!!!.

Highly recommended!
Rip from CD 256@ (full artwork included)
Download links
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воскресенье, 22 июля 2007 г.

My Favourite: WITCHCRAFT

The Swedish retro-doom-psych-folk band known as Witchcraft was started in 2000 by vocalist/guitarist Magnus Pelander, whose original intent was to record a single in tribute to Pentagram's Bobby Liebling and Roky Erickson -- how often does that happen? Calling on his friend John Hoyles (guitar) and brothers Ola (bass) and Jens Henriksson (drums) to lend a hand, Pelander did indeed record that single (entitled "No Angel or Demon") and released it through small independent Primitive Arts Records in 2002. Then, encouraged by the results, he continued to compose material for Witchcraft while his bandmates pursued other interests.

A year would pass before they reconvened as Witchcraft, and with new drummer Jonas Arnesen in tow, the quartet began preparing their eponymous debut album for release through Rise Above the following year. Recorded in a basement studio outfitted exclusively with vintage equipment, the album captured a hauntingly authentic 1970s sound -- steeped not only in the heavy-handed work of Black Sabbath and Pentagram, but also in the psych and folk-rock elements of obscure acts like Leaf Hound, Captain Beyond, and Comus. And yet, ironically, none of the members of Witchcraft were even born before 1977, making their loving reconstruction of that decade's music -- underground music at that -- all the more remarkable.
What started out as some friends getting together to play Pentagram covers blossomed into one of the greatest bit of retro-action of all time. Witchcraft was so thorough in their pursuit of 1970's authenticity as to not use any gear or recording equipment from after 1975. The result is a hypnotic record with more than a few nods to obscure hard rockers of the past such asWicked Lady,Jerusalem,andNecromandus as well as some of the darker folky stuff of that era like Comus,Family, and Mellow Candle, not to mention the obvious similarities to Black Sabbath and Pentagram. This record is absolutely perfect. If you didn't know better you might think this was some lost gem from the 70's that you missed the first time around, and that's precisely what Witchcraft intended, thus making this album a success.
ONE OF THE BEST NEW SPACE-STONER ROCK BAND!!!!

WITCHCRAFT – WITCHCRAFT – 2004 (SWE) vintage hard rock/stoner rock

Unlike most doom bands, Sweden's Witchcraft aren't content to remake Black Sabbath's original heavy metal blueprint -- doleful, deliberate, scary stuff -- at ear-shattering volume and distortion. Rather, they take it a step further by ensuring their eponymous 2004 debut (which they proudly claim was recorded "in a basement" using only vintage equipment) sounds no more recent than, say, 1971. Sure enough, the results are so eerily authentic that fans of modern doom may at first find themselves wondering if Witchcraft even qualifies as such (strictly speaking, I suppose they don't) -- only to realize, if they know their history, that Sabbath themselves sounded no heavier on their seminal debut. And clearly, it's that unique and genre-founding article, with its looser, at times almost jazzy arrangements, which informs much of the contents here: from the wonderfully simple but effective riffs driving the band's eponymous title track, to the reedy, Ozzy-like vocal swoops punctuating ensuing numbers like "The Snake," "Lady Winter," and "What I Am." Witchcraft have a little more spring in their step than the original Sabs, and therein lies proof of their additional influences in '70s folk and hard rock -- particularly legendary proto-doomsters Pentagram. To wit, "Please Don't Forget Me" is a cover version of a tune by Stone Bunny -- a ridiculously obscure band which later evolved into Pentagram; and first single (and veritable raison d'être), "No Angel or Demon," was in fact recorded as a tribute to Pentagram leader Bobby Liebling. Included here, it sounds somewhat at odds with its surroundings -- partly due to its exceedingly energetic gait, partly because its familiar closing riffs leave one expecting Dylan's "All Along the Watchtower" to kick off. Back to more familiar, but no less inventive terrain, "It's So Easy" offers yet another multi-faceted and mesmerizing trip, "You Bury Your Head" suddenly cuts loose with ripping bass and heavily distorted guitars, and the cryptic "Her Sisters They Were Weak" sweeps along medieval melodies on its way to a chilling music box coda, its words recited and printed backward so that one must hold the CD booklet to a mirror in order to reveal a devilish parable! In summary, as much as their admirable songwriting chops, it's often Witchcraft's loving recreation of a sorely overlooked era in underground music that makes this album such a special treat to behold.
1 Witchcraft 6:00
2 The Snake 2:48
3 Please Don't Forget Me 2:13
4 Lady Winter 2:58
5 What I Am 3:45
6 Schyssta Lögner 1:57
7 No Angel or Demon 3:28
8 I Want You to Know 3:16
9 It's so Easy 3:53
10 You Bury Your Head 4:40
11 Her Sisters They Were Weak 6:00

Great stuff - very retro. Heavy in the style of Sabbath and somewhat dark, yet good for sitting down and chilling out to. Would appeal to more than just metal fans; those who like 60s and 70s blues-influenced rock would probably get a kick out of it too.
Reminds me of Black Sabbath,Black Widow, Coven, Led Zeppelin and just about every other early 1970's band. Dark and very doom-laden.

HIGHLY RECOMMENDED!!!
Rip from CD 256@ (full artwork included)
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WITCHCRAFT – FIREWOOD – 2005 (SWE) vintage hard rock/stoner rock

Ask a group of doom metal or stoner rock enthusiasts what band was the blueprint for the doom/stoner field, and the vast majority will -- without hesitation -- say Black Sabbath. So when a band is as Sabbath-influenced as Witchcraft, it is understandable that some headbangers would describe them as a doom band. But Witchcraft isn't nearly as forceful or as heavy as Eyehategod, Orange Goblin, or Toadliquor, and Firewood isn't typical of what has been considered doom metal and stoner rock in the '90s and 2000 -- actually, this 2005 release shows no awareness of post-'80s metal or even post-'70s metal. Rather, Firewood is a total throwback to the heavy metal, hard rock, and psychedelic rock of the late '60s and very early '70s. Black Sabbath's first few albums with Ozzy Osbourne are a strong influence, and the Swedish band's other inspirations include Jethro Tull, Cream, Uriah Heep, Led Zeppelin, Jimi Hendrix, and the great but underexposed Budgie. If one didn't know for sure that Firewood was a 2005 recording, it would be easy to assume that the disc was recorded around 1969 or 1970 -- even the production is totally retro. And while Witchcraft's melodic offerings aren't the least bit groundbreaking, they are enjoyable; this derivative outing won't win any awards for originality, although it leaves no doubt that these Swedes are good at what they do. Firewood isn't in a class with the best albums that Sabbath, Tull, and Hendrix had to offer back in the Richard Nixon years, but it's a decent, worthwhile example of Witchcraft's desire to re-create the early years of heavy metal and hard rock.
1. Chylde of Fire
2. If Wishes were Horses
3. Mr Haze
4. Wooden Cross (I Can't Wake the Dead)
5. Queen of Bees
6. Merlin's Daughter
7. I See a Man
8. Sorrow Evoker
9. You Suffer
10. Attention!
11. When The Screams Come (Pentagram)
12. If Crimson Was Your Colour
13. I Know You Killed Someone...

More than anything in the world, Witchcraft wants to be Pentagram... So, with that in mind, you know how this one goes: doomier-than-thou riffing, in that Blue Cheer proto-metal vein, plus anguished vocals a la Osbourne or Liebling... And that, my friends, is where it loses me, the vocals here being the weakest link by far, accented and bizarre, never terrible, but never quite gelling with the raw basement-production psychedelic metal guitars... (Think of Magnus as the Klaus Meine of doom, his accent and phrasing odd to a native English speaker, although sadly he lacks Meine's range and power.) A promising doom band, and one that rightfully gets praised by the Pentagram/Trouble/Sabbath crowd, but one that I rarely listen to... In checking it out now, I should probably listen to it more, because no matter how off-putting Magnus' vocals are, some of these riffs are killer, straight out of the classic era of dark guitar rock, equal parts BOC and Sabbath and others...

HIGHLY RECOMMENDED!!!
Rip from CD 256@ (full artwork included)
Download link
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WITCHCRAFT - LIVE AT ROADBURN FESTIVAL 22.04.2006

“…Witchcraft had started and at first we couldn’t get in. There was enough space to comfortably get to the first few rows in the front after you got in, as it turned out, but I had to squish my way in through the bottleneck at the entrance, as people were eagerly trying to start their evening to the Swedes’ tunes. The place was pretty full. I was a bit thrown off by the band’s super-retro outfit (singer Magnus was wearing a patterned cape and a wide-brimmed hat), I wasn’t sure if it was humor or homage or both. In any case, the music was there, and it was rocking. They went through many songs from their two releases, and it was nice to find out that they achieve that “old, yet fresh” sound live as well as on record; that kind of Pentagram-related sound, where the guitar and bass are kinda clean and easily discernible, yet with a powerful, “naturally distorted” tone that just fits their tunes perfectly. They took the Green Room’s stage for nearly an hour, without disappointing in the least, and making for a really cool start for the path I’d chosen to follow through the festival.” (from cosmicdoom.com)
1. Witchcraft
2. Chylde Of Fire
3. Lady Winter
4. Schyssta Logner
5. Mr.Haze
6. The Snake
7. If Crimson Was Your Color
8. No Angel Or Demon
9. Queen Of Bees
10. Sorrow Evoker
11. Her Sisters They Were Weak

source: monitor mix, quality A+

Trip to the 70th!!!!

HIGHLY RECOMMENDED!!!
My mastering 256@ (my artwork included)

суббота, 21 июля 2007 г.

By Request: LESLIE WEST – MOUNTAIN – 1969 (US) hard rock

Frequently classified as the first album by the group Mountain, which was named after it, Leslie West's initial solo album featured bass/keyboard player Felix Pappalardi, who also produced it and co-wrote eight of its 11 songs, and drummer N.D. Smart II. (This trio did, indeed, tour under the name Mountain shortly after the album's release, even performing at Woodstock, though Smart was replaced by Corky Laing and Steve Knight was added as keyboard player for the formal recording debut of the group, Mountain Climbing!, released in February 1970.) Pappalardi had been Cream's producer, and that power trio, as well as the Jimi Hendrix Experience, were the models for this rock set, which was dominated by West's throaty roar of a voice and inventive blues-rock guitar playing. Though West had led the Vagrants for years and cut a handful of singles with them, this was his first album release, and it made for an auspicious debut, instantly establishing him as a guitar hero and setting the style of Mountain's subsequent recordings.
1 Blood of the Sun 2:36
2 Long Red 3:16
3 Better Watch Out 2:49
4 Blind Man 3:54
5 Baby, I'm Down 4:03
6 Dreams of Milk & Honey 3:34
7 Storyteller Man 3:07
8 This Wheel's on Fire 3:19
9 Look to the Wind 2:43
10 Southbound Train 2:59
11 Because You Are My Friend 3:08

A very accomplished album of guitar-based hard rock from a then-unknown guitarist. Very similar in style to Eric Clapton's Cream, this album features a number of excellent songs with "Blood of the Sun" and "Baby, I'm Down" in particular standing out. This was technically a Leslie West solo album, but the band that would later become known as Mountain after their performance at the 1969 Woodstock festival was already present as Leslie West's backup musicians. This one is just as good as the Mountain album Climbing and almost as good as their 1971 followup, Nantucket Sleighride. Mountain fans and fans of good guitar rock, be sure not to overlook this one.

Highly recommended!
Rip from CD 256@ (full artwork included)
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By Request: MOUNTAIN – LAST NIGHT AT THE FILMORE EAST 1971

This is a remastered version of two similar boots, Mt. Fillmore: Live At The Fillmore East 1971 and Closing The Fillmore East. It is a significant improvement to both. CTFE suffered from high frequency loss and low volume level. The source for this new version, Mt. Fillmore, had superior sound but ran more than 5% fast and suffered somewhat from digital distortion, particularly in Dreams Of Milk And Honey. Both of those problems have been corrected and some minor dips in volume have been adjusted. Also absent is the nifty reminder during Roll Over Beethoven on CTFE that we are listening to radio station KLOS. Both versions suffered from a two minute cut in the middle of Dreams Of Milk And Honey. After carefully matching volume and EQ, the missing part has been patched with the same segment from FLOWERS OF EVIL. You can find the patch at 7:51 when the guitar shifts to the center channel due to the different mix, ending at 9:51. In addition, the Outside The Fillmore interviews and California Jam track from CTFE have replaced the two commercially available bonus tracks on MT. FILLMORE.
Dreams Of Milk And Honey and Roll Over Beethoven were used on the official release, FLOWERS OF EVIL. That version dropped an introduction and made a minor cut in Dreams Of Milk And Honey. Here these tracks are complete and unedited in a slightly different mix. In comparison, FLOWERS OF EVIL now sounds somewhat anemic.
MT. FILLMORE lists the date of this show as June 26 and CTFE lists it as June 28. June 27 was the final night of the Fillmore's closing run. The same lineup (Albert King, Mountain, The J. Geils Band and The Allman Brothers Band) played on each of the last two nights, so the 26th is possible. But this tape is from a radio broadcast and it's likely that such a broadcast would have been on the final night. Also, the circulating Allman Brothers tape of these last shows is from the 27th, and it would seem logical that was the same broadcast.

Leslie West - guitar, vocals
Felix Papalardi - bass, vocals
Corky Lang - drums
Steve Knight – organ
01. Intro by Bill Graham
02. Never In My Life
03. Theme For An Imaginary Western
04. Roll Over Beethoven
05. Dreams Of Milk And Honey
06. Silver Paper
07. Mississippi Queen
08. Outside of the Fillmore
09. Nantucket Sleighride (Bonus track from California Jam 1974)

Fillmore East, New York City
Radio Broadcast
June 27, 1971

Highly recommended!
Rip from CD 256@ (full artwork included)
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