BLACK SABBATH butlegs 1970 - 1978

From "Paranoid tour" to "Never Say Die tour", all live's in OGG ~ @200, quality B to A+

ENJOY!!!

BLACK SABBATH – Fillmore West - San Francisco, CA, USA - 11/22/70

01 – Paraniod
02 - N.I.B
03 - War Pigs
04 - Black Sabbath
05 - Iron Man
06 - Behind The Wall Of Sleep
07 - Hand Of Doom
08 - Fairies Wear Boots
09 - Wicked World

(full artwork included)
Download link
http://link-protector.com/290975/

BLACK SABBATH – L'Olympia - Paris, France - 12/19/70

01 – Paraniod
02 - Hand Of Doom
03 - Iron Man
04 - Black Sabbath
05 - N.I.B
06 - Behind The Wall Of Sleep
07 - War Pigs
08 - Fairies Wear Boots

(full artwork included)
Download link
http://link-protector.com/290976/

BLACK SABBATH – City Hall - Sheffield, UK - 1/14/71

01 - War Pigs
02 - Into The Void
03 - Iron Man
04 - Guitar Interlude
05 - Black Sabbath
06 - After Forever
07 - Wicked World
08 - Fairies Wear Boots
09 - Paranoid

(full artwork included)
Download link
http://link-protector.com/290977/

BLACK SABBATH – The Forum - Inglewood, CA, USA - 2/23/71

01 – Intro
02 – Paranoid
03 - N.I.B
04 - War Pigs
05 - Black Sabbath
06 - Iron Man
07 - Wicked World
08 - Fairies Wear Boots

(full artwork included)
Download link
http://link-protector.com/290978/

BLACK SABBATH – Winterland Ballroom - San Francisco, CA, USA - 10/1/71

01 – Intro
02 - N.I.B
03 - War Pigs
04 - Sweet Leaf
05 - Iron Man
06 - Wicked World
07 - Guitar Solo
08 - Wicked World (reprise)
09 – Embryo
10 - Children Of The Grave
11 – Paranoid
12 - Fairies Wear Boots

(full artwork included)
Download link
http://link-protector.com/290980/

BLACK SABBATH – The Celebrity Theatre - Phoenix, AZ, USA - 10/17/71

01 - N.I.B
02 - War pigs
03 - Sweet leaf
04 - Iron man
05 - Children of the grave
06 - Wicked world
07 – Paranoid
08 - Fairies wear boots

(full artwork included)
Download link
http://link-protector.com/290981/

BLACK SABBATH – Community Center Convention Hall - Tucson, AZ, USA - 3/16/72

01 - N.I.B
02 - Tomorrow's Dream
03 - War Pigs
04 - Sweet Leaf
05 - Iron Man
06 – Snowblind
07 - Wicked World
08 - Orchid-Guitar Solo
09 – Jam
10 - Drum Solo
11 – Jam
12 - Wicked World (reprise)
13 - Children Of The Grave
14 – Paranoid
15 - Crowd Cheering
16 - Fairies Wear Boots

(full artwork included)
Download link
http://link-protector.com/290982/

BLACK SABBATH – Swing Auditorium - San Bernardino, CA, USA - 3/17/72

01 - Tony's Opening Solo – NIB
02 - Tomorrow's Dream
03 - War Pigs
04 - Sweet Leaf
05 - Iron Man
06 – Snowblind
07 - Wicked World
08 - Drum Solo - Wicked World Reprise
09 - Children Of The Grave
10 – Paranoid
11 - Fairies Wear Boots

(full artwork included)
Download links
http://link-protector.com/290983/
http://link-protector.com/290984/

BLACK SABBATH – Festival - Ngaruawahia, New Zealand - 1/7/73

01 – Intro
02 - Tomorrow's Dream
03 - Sweet Leaf
04 - War Pigs
05 – Snowblind
06 - Iron Man
07 – Changes
08 – Cornucopia
09 - Wicked World
10 - Embryo-Children Of The Grave
11 - Paranoid

(full artwork included)
Download link
http://link-protector.com/290985/

BLACK SABBATH – Hordern Pavilion, Sydney Showground - Sydney, Australia - 1/16/73

01 - Tomorrow's Dream
02 - Sweet Leaf
03 - War Pigs
04 – Snowblind
05 – Changes
06 - Iron Man
07 – Cornucopia
08 - Wicked World
09 - Embryo-Children Of The Grave
10 – Intermission
11 - Paranoid

(full artwork included)
Download link
http://link-protector.com/290986/

BLACK SABBATH – Alexandria Palace Festival - London, UK - 8/2/73

01 - Tomorrow's Dream
02 - Sweet Leaf
03 - War Pigs
04 – Snowblind
05 - Killing Yourself To Live
06 – Cornucopia
07 - A National Acrobat
08 - Children Of The Grave

(full artwork included)
Download link
http://link-protector.com/290987/

BLACK SABBATH – International Amphitheatre - Chicago, IL, USA - 2/11/74

01 - Tomorrow's Dream
02 - Sweet Leaf
03 - Killing Yourself To Live
04 – Snowblind
05 - Sabra Cadabra
06 – Supernaut
07 - Iron Man
08 - Black Sabbath
09 - Sabra Cadabra Reprise
10 - Embryo-Children Of The Grave
11 - War Pigs
12 - Paranoid

(full artwork included)
Download link
http://link-protector.com/290988/

BLACK SABBATH – California Jam I - Ontario Raceway - Ontario, CA, USA - 4/6/74

01 - Tomorrow's Dream
02 - Sweet Leaf
03 - Killing Yourself To Live
04 - War Pigs
05 – Snowblind
06 - Sabra Cadabra
07 - Supernaut 1
08 - Supernaut 2
09 - Supernaut 3
10 - Iron Man
11 - Sabra Cadabra Reprise
12 – Paranoid
13 - Children Of The Grave

(full artwork included)
Download link
http://link-protector.com/290989/

BLACK SABBATH – Baltimore Civic Center - Baltimore, MD, USA - 8/2/75

01 - Hole In The Sky
02 – Snowblind
03 - Symptom Of The Universe
04 - War Pigs
05 – Megalomania
06 – Improvisation
07 - Drum Solo
08 – Supernaut
09 - Iron Man
10 – Improvisation
11 - Black Sabbath
12 - Embryo - Children Of The Grave
13 – Paranoid
14 - Junior's Eyes (bonus) David Walker on vocal

(full artwork included)
Download links
http://link-protector.com/290990/
http://link-protector.com/290991/

BLACK SABBATH – Asbury Park Convention Hall - Asbury Park, NJ, USA - 8/5/75

CD1
01 - Killing Yourself To Live
02 - Hole In The Sky
03 – Snowblind
04 - Symptom Of The Universe
05 - War Pigs
06 - Ozzy Talking
07 – Megalomania
CD2
01 - Sabbra Cadabra
02 – Supernaut
03 - Iron Man
04 - Guitar Solo
05 - Black Sabbath
06 - Spiral Architect
07 - Children Of The Grave
08 - Paranoid

(full artwork included)
Download links
http://link-protector.com/290992/
http://link-protector.com/290993/

BLACK SABBATH – Swing Auditorium - San Bernardino, CA, USA - 11/2/76

CD1
01 - Supertzar-Symptom Of The Universe
02 – Snowblind
03 - Stand Still
04 - War Pigs
05 – Gypsy
06 - Black Sabbath
CD2
01 – Megalomania
02 - Dirty Women
03 - Electric Funeral
04 - Drum Solo
05 - Iron Man
06 - Children of The Grave
07 - Paranoid

(full artwork included)
Download links
http://link-protector.com/290994/
http://link-protector.com/290995/

BLACK SABBATH – Madison Square Garden - New York, NY, USA - 12/12/76

CD1
01 - Frank Zappa Intro
02 – Supertzar
03 - Symptom of The Universe
04 – Snowblind
05 - Stand Still
06 - War Pigs
07 – Gypsy
08 - Black Sabbath
CD2
01 - Dirty Women
02 - Drum Solo
03 - Guitar Solo
04 - Rock'n'Roll Doctor
05 - Electric Funeral
06 - Iron Man
07 - Children of The Grave
08 - Paranoid

(full artwork included)
Download links
http://link-protector.com/290996/
http://link-protector.com/290997/

BLACK SABBATH – Hammersmith Odeon - London, UK - 3/13/77

CD1
01 - Supertzar-Symptom of the universe
02 – Snowblind
03 - War Pigs
04 – Gypsy
05 - Black Sabbath
06 - Dirty Women
07 - Drum Solo
08 - Rock 'n roll doctor
09 - Guitar Solo
10 - Electric Funeral
11 – Jam
12 - N.I.B
CD2
01 - Iron Man
02 - Children Of The Grave
03 - Paranoid

(full artwork included)
Download links
http://link-protector.com/290998/
http://link-protector.com/290999/

BLACK SABBATH – Pavillon De Paris - Paris, France - 4/5/77

CD1
01 - Supertzar-Symptom of the universe
02 – Snowblind
03 - War pigs
04 – Gypsy
05 - Black Sabbath
06 - Dirty Women
07 - Rock 'n roll doctor (cut)
CD2
01 - Guitar solo
02 - Electric funeral
03 - N.I.B
04 - Iron man
05 - Children of the grave
06 - Paranoid

(full artwork included)
Download link
http://link-protector.com/291000/

BLACK SABBATH – Olympen - Lund, Sweden - 4/21/77

01 - Supertzar-Symptom of the universe
02 – Snowblind
03 - War pigs
04 - Black Sabbath
05 - Dirty women
06 - Rock-n-roll doctor
07 - Guitar solo
08 - Electric funeral
09 - N.I.B
10 – Gypsy
11 – Paranoid
12 - Children of the grave

(full artwork included)
Download links
http://link-protector.com/291001/
http://link-protector.com/291002/

BLACK SABBATH – Apollo Theater - Glasgow, Scotland - 5/18/78

CD1
01 – Supertzar
02 - Symptom of the universe
03 - War pigs
04 – Snowblind
05 - Never say die
06 - Black Sabbath
07 - Dirty women
08 - Drum solo
09 - Rock 'n roll doctor
CD2
01 - Guitar solo
02 - Electric funeral
03 - Hand of doom
04 - N.I.B
05 - Fairies wear boots
06 - Children of the grave
07 - Iron man
08 - Paranoid

(full artwork included)
Download links
http://link-protector.com/291003/
http://link-protector.com/291004/

BLACK SABBATH – Civic Arena - Pittsburgh, PA, USA - 9/2/78

01 – Snowblind
02 - Black Sabbath
03 - Dirty Women
04 - Rockn Roll Doctor
05 - Electrical Funeral
06 - Iron Man
07 - Fairies Wear Boots
08 - Children Of The Grave
09 - Paranoid

(full artwork included)
Download link
http://link-protector.com/291005/

BLACK SABBATH – Selland Arena - Fresno, CA, USA - 9/22/78

CD1
01 - Sympthom Of The Universe
02 – Snowblind
03 - War Pigs
04 - Never Say Die
05 - Black Sabbath
06 – Shockwave
CD2
01 - Dirty Women
02 - Rock 'n' Roll Doctor
03 - Bill Solo
04 - Tony Solo
05 - Electric Funeral
06 - Iron Man
07 - Children Of The Grave
08 - Paranoid

(full artwork included)
Download links
http://link-protector.com/291006/
http://link-protector.com/291007/

CRAZY PEOPLE – BEDLAM – 1968 (UK) progressive rock

Crazy People and Bedlam have been the subjects of some busy conjecture by various 1960s Sherlock Holmes types, and several theories regarding the album's genesis have been proposed throughout the years, including the mention of such era obscurities as Wild Man Fischer and the heavily shrouded psychsploitation figure Johnny Kitchen, but what an album invariably comes down to is the music contained in its grooves. And inside the grooves of Bedlam lies some dramatically unhinged stuff, a schizophrenic, psychedelic mutation unlike any other from the era. From the opening few bars of "Parade at the Funny Farm," the direction of the album is evident -- that is, that there is no direction per se. If you borrowed all the weirder sound-collage stuff, satirical performance-art, and politico-comedic humor from the early work of the Mothers of Invention or the Firesign Theatre and superimposed it over some oddball, calliopic melodies and eclectic stylistic jump-cutting, you would begin to approach the mayhem of the sole effort by Crazy People. For example, "After Six" is a really beautiful, swaying kaleidoscopic pop tune. Or it could have been pretty. Over top of the music, however, a stoned philosopher narrates an involved story (an amusing amalgam of fairy tale, cartoon, Bible epic, and Greek tragedy delivered, nevertheless, with an absolutely stony-faced tone) in a manner similar to Cream's kooky "Pressed Rat and Warthog." "Head Games and Other Assorted Crap" is a partly a sound collage a la the Beatles' "Revolution No. 9," but the collage arises out of a lovely sunshine-pop tune that ultimately gives way to bits of jazz and tribal music, and even a choir at one point. The album is very much a product of its times, and the humor very much endemic to the era, rendering Bedlam as a perfect, encapsulized historical record of the times: part bollocks, part inspiration, and all intriguing, even when it falls on its face.
1. Parade At The Funny Farm
2. Head Amusement
3. Raunchy Boog. A. Loo
4. After Six
5. The Truth
6. Head Games and Other Assorted Crap
7. Head Job
8. Happy Academy
9. Trans Luv Airlines
10. Let's Split

One of the oddest and most varied albums of the late sixites era, this album took a few listens to form an opinion. Some tracks are excellent and some seem to be throwaways. The first track is probably the most varied. Complete with great organ work, very odd effects, and some sections of spoken word, this track sets the stage for the rest of the album. The third track is an great instrumental followed by a rather pointless spoken track with odd lyrics. The rest of the album consists of another instrumental track, another mostly spoken track, a couple more standard acid rock numbers and a final bluesier number to close out the album. A very interesting album that I would recommend that any fan of late sixties rock listen to.

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/307102/

AFTER ALL – AFTER ALL – 1969 (US) heavy psych

After All may have only been a band in the loosest sense of the term, but its only record is a quite wonderful -- if ultimately difficult to categorize -- one-shot relic of the transitional late-'60s. The four members of the combo were actually friends and acquaintances in different bands on the Tallahassee, FL, rock circuit before culling their skills together, along with lyrical assistance from young local poet and songwriter Linda Hargrove, when an opportunity to record an album in a Nashville studio presented itself. The resulting piece of work is the type of strangely compelling hybrid album that could only have come together in the musical gumbo of the post-psychedelic era. Drummer and primary vocalist Mark Ellerbee wrote most of the music, and his songs are basically freeform, open-ended tone poems that eschew typical verse-chorus and melodic considerations (although the odd melodic hook or harmony surfaces from time to time) for music that is much more amorphous and improvisational. There are elements of rock, R&B, blues, progressive, classical, avant-garde composition, and, to an even greater degree, jazz weaving through the music, while a thick hallucinatory cloud hovers over the whole of the album, giving it an oddly surreal and even ghostly demeanor. It is a complex and ambitious mix that doesn't always come off seamlessly, but is by and large an engaging amalgam, exploring similar territory to that being investigated during the period by much higher profile bands such as Chicago, Procol Harum, and Blood, Sweat & Tears (Ellerbee's singing, in fact, is a dead ringer for David Clayton Thomas). Each band member displays near virtuosity on his instrument, which allows After All to harness all its sonic influences and renders the music exciting to hear even when the songwriting drags the slightest bit or loses its way. But, for the most part, the songs are rather outstanding. "Intangible She" and the psychedelic "A Face That Doesn't Matter" play with the foreboding, seedy flair that frequently made the Doors' songs seem like such ominous musical prophecies, while "Blue Satin" is a bit more swirling and romantic but maintains an edgy sense of intangible mystery, represented by the flute that threads through the song's final moments. "Let It Fly," on the other hand, is pure groove, and maybe the best example of the band's playing capabilities (if not the best song), while "And I Will Follow" builds a slow, tensive burn to match the yearning nature of the lyrics before turning more wistful. Hargrove's beautifully lustful and longing words frequently create an interesting tension with the spacier instrumental interplay, and the music is even more enigmatic as a result. After All is not easy to fully enter, but it is well worth the effort. As obscurities from the era go, it may not be one of the most fascinating, but it may have some of the most accomplished musicianship.

MARK ELLERBEE drms
ALAN GOLD keyb'ds
BILL MOON bs, vcls
CHARLES SHORT gtr
1 Intagible She 7:16
2 Blue Satin 3:46
3 Nothing Left to Do 7:07
4 And I Will Follow 4:51
5 Let It Fly 4:32
6 Now What Are You Looking For 3:05
7 A Face That Doesn't Matter 4:31
8 Waiting 4:23

Nice Hammond organ dominated heavier proto prog with a moody, almost melancholy feel. The vocalist sounds a lot like David Clayton Thomas, and the more keyboard-oriented numbers remind me of Procol Harum. Pretty good one-off effort.

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/307100/

AGUATURBIA - AGUATURBIA -1969 (CHILE) heavy psych

I don't want to say that the songs, that feature the album's first part, are mediocre (let alone they're weak). All of the most interesting and progressive songs are, however, assembled in the second half of it, where there is the only quite accessible song - the last one, named same as the album. It must be said that both the less complex songs of the album are located on the opposite poles of it. So, can you guess right the title of the second (and last) accessible song? Sure, this is Somebody To Love, consisting of only two different themes - both vocally and instrumentally. Actually, these are just couplets and refrains, sung on the Hard Rock-ish instrumental background. There are no guitar solos on Somebody To Love, though the riffs of a guitar and especially vocal parts are more or less diverse. The last (title) track sounds just a little richer thanks to the acoustic guitar passages that appear in the second part of the song, while there are only two lead vocals, female and male, who sing in a Spanish manner on the background of monotonous beats of the hollow drum, in the first part. It's unknown who was that male vocalist, just once involved in singing the song, which, by the way, sounds by all means atypical for the album as a whole. The majority of the album's songs represent either Progressive Space Rock or a blend of proto-progressive Hard and Space Rock, and I can't say that a wonderful blues-y ballad Blues On the Westside is out of the band's original stylistics, marked (of course!) by the majority of the album's songs. It's more than a usual story when 'heavy' bands put a ballad among the other ('heavy') tracks. As I've mentioned already, proto-progressive compositions are assembled in the first half of the album, while the most interesting and progressive ones are in the second half. Each of the four tracks 2 to 5 contains a few of different instrumental and vocals themes, as well as instrumental arrangements where there are always original, diverse and virtuosic guitar solos play a prominent part. Actually, though, these always diverse, etc guitar riffs or solos always play a prominent role in all of the album's songs (i.e. just the album throughout, but this Russian writer still doesn't want to see any of tautologies in his sentences). Back to the said four tracks 2 to 5, even the album's longest track Crimson & Clover isn't too rich in progressive ingredients, though the (excellent) musicianship of each of the band members reached its peak exactly here. (Strangely enough, it seems to me that I am already familiar with at least one of the two main vocal parts of Crimson & Clover: fata morgana?). It must also be said, however, that, beginning with the album's opening track and up to and including Evol (track 9), each following track is at least slightly better than the previous one (not counting of a ballad, which is beautiful in its own way - in itself, though). The second song Erotica is full of Denise's very impressive erotic oh 'n' ah 'vocalizes', apart from just a few of real vocal parts. The latter, though, were sung with the same specific emotions, so I wonder why a very good heavy instrumental (track 4) was named as Ah ah ah ay: this would rather be a great sub-title for still the same Erotica. There also are just a few of vocal parts on Rolling 'n' Tumbling (track 3), but on the other hand, there are lots of wonderful powerful vocalizes that fit 'heavy' structures excellent. Along with Heartbreaker (track 6) starts a real Progressive Hard Rock with a lot of changes of themes, tempos and moods (in vocals), variegated large-scaled arrangements, Rock-ish fast and virtuosic solos and spacey fluid ones as well. Both Heartbreaker and Waterfall (track 8), apart from having all the necessary ingredients so as to sound very progressive, are also characterized with such incredible things as sudden (yet gradual, which is especially amazing) accelerations and decelerations of tempos, as well as 'falls' into different musical dimensions. Despite the fact that I Wonder Who (track 10) is a short song, there is enough of progressive diversity. I am especially impressed by a very inventive contrast between the fast, on the whole, tempo of the song and slow and plangent singing of Denise. Evol (track 9), the most complex and incredibly progressive composition (killer, by all means), is a peak of the band's evolution with regard to this album, whereas if the album as a whole would sound in the vein of the polar songs, it would be just an evilution. (This way, all the political (i.e. bloody!) revolutions must actually sound just as revilutions.) While the Two of the rhythm section work effective and impressive always on the album, the main "Psychedelic Drugstore" heroes are, however, unique singer-chameleon Denise (whose English is excellent: at least for these Russian ears) and guitarist-virtuoso Carlos Corales. Having probably the whole three octaves in her vocal diapason, Denise shines the album throughout, whereas the work of Carlos's guitar, as well as really remarkable instrumental arrangements with his guitar's riffs, moves and solos at the head of them (I guess Carlos is the main composer of "Psychedelic Drugstore") became noticeable beginning with the fourth track and really excellent - beginning with the sixth one.

Denise (vocals)
Carlos Corales (guitar)
Willy Cavada (drums)
Ricardo Briones (bass)
1 Somebody to Love 3:02
2 Erotica 3:47
3 Rollin' 'n' Tumblin' 3:05
4 Ah ah ah Ay 2:46
5 Crimson & Clover 10:33
6 Heartbreaker 5:40
7 Blues on the Westside 6:15
8 Waterfall 3:43
9 Evol 8:42
10 I Wonder Who 2:53
11 Aguaturbia 2:21

A great south-american album by a band which was condemned by Catholic church when they released their album. This is the top of psychedelic rock in South America, killer fuzz, and amazing vocals of Denise !

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/309406/

OMEGA – 10000 LEPES – 1969 (HUNG) heavy progressive

Their second one actually starts even worse than their debut album with a folk pop tune featuring quite ridiculous sounding vocals (not by the lyrics, I don't speak Hungarian, but just by the voice). Second one is a more or less cheesy and lovely ballad and next one a quite up-tempo one with good rocking guitar riffing, but nothing special. On track 5 they feature again nice flute playing combined with percussion and Hammond sound as well a great drum solo. So far the longest and best piece by them and in some way an ignition point for the album to become much better. At least for the next two songs which are very good psychedelic rock ones. Then there is a funny boogie woogie, a slower tune and a rock'n'roll one which are ok but nothing special. So finally three good tracks on here which does still not justify IMO to call it a very good album or even an essential one.

Laszlo Benko - keyboards, trumpet, backing vocals
Janos Kobor - lead vocals
Joszef Laux - drums
Tamas Mihaly - bass
Gyorgy Molnar - guitar
Gabor Presser - keyboards, backing vocals
1. Petroleum lampa (3:14)
2. Gyorgyhaju lany (5:49)
3. Tuzvihar (3:09)
4. Udvari bolond kenyere (3:32)
5. Kergeskezu favagok (8:15)
6. Tekozlo fiuk (4:34)
7. Tizezer lepes (6:13)
8. Az 1958-as boogie-woogie klubban (2:14)
9. Spanyol gitar legenda (3:24)
10. Felbeszakadt koncert (4:00)


Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/307107/

ALICE – ALICE – 1970 (FRA) heavy progressive

This record feature some excellent proto prog, sometimes a bit similar to Comus. There are even some Faust-like melodies here and there. On the other hand, there are also a few dated, Pink Floydian songs, which I don't care so much for. Highlights include "L'Arbre", and "Mexican Song".

Jean-Pierre Auffredo - Flute, Sax, Violin, Guitar, Piano, Vocals
Alain Suzan - Organ, Piano, Bass, Vocals
Sylvain Duplant - Bass, Guitar, Percussion, Vocals
Bruno Besse - Guitar, Vibraphone, Percussion
Alain Weiss - Drums, Percussion
1. Axis
2. ONURB
3. Le Nouveau Monde
4. L'Arbre
5. Valse
6. L'Enfant
7. Extrait Du 'Cercle'
8. Venez Jouer 1
9. Mexican Song
10. Venez Jouer 2
11. Tournez La Page
12. Fumée Grise Et Marrons Chauds
13. De L'autre Cote Du Miroir
14. Viens
15. Le nouveau monde
16. Que Pouvons-Nous Faire Ensamble
17. Je Voudrais Habiter Le Soileil
18. Il Viendra


Highly recommended!
Rip from CD 256@ (full artwork included)
Download links
http://link-protector.com/307109/
http://link-protector.com/307110/

ARCADIUM – BREATHE AWHILE – 1969 (UK) heavy progressive

Arcadium's sole album, like that of many also-ran rare psychedelic LPs of the late '60s, was something of a bad trip soundtrack in its reliance upon minor melodies, swirling churchy organs, loud distorted guitars, pained vocals, hints of blues, and ghostly harmonies. Sole songwriter and lead vocalist Miguel Sergides had an enigmatic, sometimes unfathomable worldview, but one that always projected discontent and struggle. Aside from being derivative of bigger psychedelic groups with somewhat similar heavy sounds and troubled attitudes, the record suffers from an overreliance on minor-key tunes and a lack of sufficient variety between the individual tracks. As was the fashion of the day, as well, some of the tracks went on for seven-to-twelve minutes, with the ambitious "Birth, Life and Death" clocking in at ten minutes, for example. The CD reissue on Akarma adds two tracks from a non-LP 1969 single that sound very much like the ones that made the album.

Graham Best: bass, vocals
Allan Ellwood: organ, vocals
John Albert Parker: drums
Robert Ellwood: lead guitar, vocals
Miguel Sergides: 12-string guitar, vocals
1 I'm on My Way 11:50
2 Poor Lady 3:58
3 Walk on the Bad Side 7:33
4 Woman of a Thousand Years 3:37
5 Change Me 4:48
6 It Takes a Woman 3:53
7 Birth, Life and Death 10:18
Bonus Tracks
8 Sing My Song 4:13
9 Riding Alone 2:46

There aren't many bands that managed to melt down heavy rock based psychedelic music with straight forward progressive rock, but Arcadium had done so and in fair succses, a solid album.

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/307101/

FATE – SGT. DEATH – 1968 (US) heavy psych

Jay Sneider's first band The Electrons came together in Saco, Maine in 1963. They soon changed their name to The Id and would release two 45s that have become highly prized by collector's, the second as Euphoria's Id to differentiate them from several other Ids around at that time. Around 1967 Sneider (now Snyder) and drummer Skip Smith formed Fate.
The album was recorded in 1968 under the guidance of Thomas Jefferson Kaye at Studio 3 in New York, where Billy Joel's Hassles would record their debut LP. Demos were sent out and the popular DJ Roscoe (also the voice on an album by John Berberian) started playing it. It would be picked up by a couple more NYC stations, yet the only record label to show any interest was Musicor. Still the band's production company (Elephant 5) chose to pass on the offer, nothing further happened and a disillusioned band went their separate ways.
Such a shame; this is an accomplished opus and so evocative of its time. The mood is reflective, often sombre, but also confrontational (as in the overtly anti-Vietnam title track). Stylistically it varies from baroque-rock with psychy flashes to hard melodic rock, and a strong hint of The Doors on the more introspective cuts. The latter comparison used to irritate Jay Snyder but the setting, key and timbre of Frank Youngblood's vocals makes this unavoidable. Sexual Fantasy #8 is an immediate stand-out; it has a pealing George Harrison-like guitar motif that'll haunt you for months. Elsewhere they take on the blues and Bo Diddley in a hard-rock setting with searing guitar.
Jay Snyder recounts his musical odyssey and the stories behind his songs in revealing detail on both CD and LP. A very welcome and recommended release. Incidentally, the opening track on the original demo album, Prelude, was omitted from the reissues as it was not recorded by Fate, instead being put together by their producer.
An article in Billboard magazine in October 1968 reported that "Fate's demonstration discs are being played on three radio stations in New York", but the only original copy so far to turn up has a mastering date of February 1969 etched in the vinyl trail-off. It could be that there were different demo discs in circulation at different times.

STEVE DORE gtr
SKIP SMITH drms
JAY SNEIDER (SNYDER) keyb'ds, vcls
ART WEBSTER bs
FRANK YOUNGBLOOD vcls
1 Sergeant Death 5:04
2 Simone 3:59
3 Sexual Fantasy 3:39
4 Having a Cigarette 2:11
5 I Need a Woman 4:12
6 Hungry Lovin' Blues 2:44
7 Mannequin 5:43
8 Tribute To The Bo 4:20
9 Smoke & Stone 5:09

Thanx to Chris

Highly recommended!
256@ (front cover)
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HAWKWIND – SONIC BOOM KILLERS: BEST OF SINGLES A's AND B's FROM 1970 to 1980 – 1998 (UK) space rock

Although it is not necessarily the most essential Hawkwind package you will ever be offered, Sonic Boom Killers is, nevertheless, among the most sensibly structured, its 18 tracks offering up most (but not quite all) of the band's 1970s singles -- most of which were released at a time when chart success was a very real possibility, a point proven by the opening salvo of "Silver Machine" (a U.K. number two in 1972) and "Urban Guerilla" (number 39 in 1973). That the band did not otherwise especially bother the Top 75 is simply a sorry quirk of fashion -- "Hurry on Sundown" (from 1970), "Psychedelic Warlords" (1974), "Kings of Speed" (1975), "Quark Strangeness and Charm" (1977), and "Who's Gonna Win the War" (1980) all received a modicum of broadcast support, while "Shot Down in the Night" (1980) scratched to number 59 purely on the back of Hawkwind's adoption by the New Wave of British Heavy Metal. Four singles are absent from this roundup: "Kerb Crawler," "Back on the Streets," and the alter ego Hawklords' "Psi Power" and "25 Years." In their stead, you receive the Germany-only "Lord of Light." The real meat, however, lies in the gathering together of some key material originally available only as B-sides to the above: the excellent "Seven by Seven," "Brainbox Pollution," 1974's live "It's So Easy," and Lemmy's self-fulfilling prophecy, "Motorhead." All have long since been compiled onto other CDs, of course, but their availability on a single disc is certainly some cause for celebration.
1 Silver Machine 4:40
2 Urban Guerilla 3:43
3 Hurry on Sundown 4:56
4 Kings of Speed 3:33
5 Lord of Light [single edit] 3:59
6 You'd Better Believe It (Live 1974) [single edit] 3:23
7 Paradox (Live 1974) [single edit] 4:02
8 The Psychedelic Warlords [single edit] 3:55
9 Who's Gonna Win the War? [single edit] 4:45
10 Motorhead 3:05
11 Seven by Seven 5:22
12 Brainbox Pollution 5:42
13 Born to Go (Live 1972) [single edit] 5:05
14 It's So Easy (Live 1974) 5:20
15 Quark, Strangeness and Charm 3:43
16 The Forge of Vulcan 3:07
17 Shot Down in the Night (Live 1979) [single edit] 4:15
18 Urban Guerilla (Live 1979) [edit] 5:39

Highly recommended! One of the best Hawkwind compilations!!!
Rip from CD 256@ (full artwork included)
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INDIAN SUMMER – INDIAN SUMMER – 1969 (UK) heavy progressive

Indian Summer was a little known one-shot British prog rock band that released this self-entitled album and disappeared. The album was originally released on RCA's Neon subdivision, the same label that brought us acts like Spring, Mike Westbrook, Raw Material, The Running Man, and Touton Macoute. Indian Summer's music is typical early '70s prog rock dominated by Hammond organ with some Mellotron. The opening song, "God is the Dog" is obviously the band's protest against religion, and despite that, it's actually one of the better songs on the album. But the album also has its flaws: the album gets bogged down by several pointless solos that go nowhere, specifically on the final cut, "Another Tree Will Grow". The band needed to either cut off the excess fat, or made the solos more interesting for me to regard it as a classic.

Other interesting things of note: the cover artwork is by Keef, same guy responsible for Rod Stewart's Gasoline Alley, Black Sabbath's debut album, Colosseum's Valentyne Suite, Cressida's Asylum, Manfred Mann's Chapter III's Vol. 2, and many others. Also Indian Summer's debut was one of only two Neon titles released in America (the other being Centipede's Septober Energy, but it didn't surface in America until 1974, three years after its original UK release, and by which point, Neon ceased to exist, so it was released in the US on the standard RCA/Victor label). The American version of the Indian Summer label was also Neon (uses the same label), but I suggest you avoid buying the American LP because by that time, RCA in America was printing their albums on the crap Dynaflex (that was their silly company trademark of ridiculously flimsy vinyl - supposedly to help stop warping - at the expense of sound quality, which of course, RCA failed to mentioned, and started ripping people off in the process), which means crappy sound quality, so go for either the British LP, or the CD reissue on Repertoire.

Bob Jackson (keyboards, vocals)
Colin Williams (guitar, vocals)
Malcolm Harker (bass, vocals)
Paul Hooper (drums, pesussion)
Wez Price (bass, vocals)
1 God is the Dog 6:35
2 Emotions of Men 5:40
3 Glimpse 6:41
4 Half Changed Again 6:23
5 Black Sunshine 5:24
6 From the Film of the Same Name 5:50
7 Secrets Reflected 6:47
8 Another Tree Will Grow 6:06

This is a classic album. A true must-have LP. One of the best progressive albums of all-time. Perhaps a bit too complex for most. Lots of intricate guitar solos and dark, swirling, minor keys. Unbelievable!!!

Highly recommended!
Rip from CD 256@ (full artwork included)
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STONEHOUSE – STONEHOUSE CREEK – 1971 (UK) hard rock/heavy psych

Stonehouse: Stonehouse Creek 1971 is a GREAT Heavy Rock record. Oftentimes wrongfully lumped into the hard progressive sub category, this is just plain old killer articulate early 70s Heavy Rock. The music and vocal stylings bear a slight resemblance to their fellow UK musicians in Free or very early Bad Company. The thing that definitely sets Stonehouse apart from other commonplace hard rock groups is their musicianship. Instead of arranging their material around the guitar, all the musicians use the acoustic piano as a rhythmic springboard allowing them all a more melodious approach to their individual contributions. The Piano is in no way dominant throughout the album, nor are the arrangements too angular. Unfortunately this was the groups only offering and details on the members & their activities are as rare as the RCA record itself.

Peter Spearing (guitar, vocals)
James Smith (vocals)
Ian Snow (drums)
Terry Parker (bass)
1 Stonehouse Creek
2 Hobo
3 Cheater
4 Nightmare
5 Crazy White Folk
6 Down, Down
7 Ain't No Game
8 Don't Push Me
9 Topaz
10 Four Letter Word
11 Stonehouse Creek (reprise)

Excellent early 70's British Metal. Comparable to Led Zeppelin and Black Sabbath. Tracks 1 and 11 are more in the vein of Elton John. Very heavy and Marcus Keef did the artwork and photography for the album. Too bad this was their only release

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
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PATTO – PATTO – 1970 (UK) hard rock/heavy psych

Criminally underrated at the time, but borne into legend by the unspeakable tragedies that awaited its makers, the debut album by Patto can safely be described among the finest jazz-rock fusion albums ever cut by a British band. Mike Patto's vocals certainly match that billing, a throaty, emotive sound that puts one in mind of the effect that Steve Winwood spent much of his career pursuing, while first lieutenant Ollie Halsall's reputation as one of the era's hottest guitarists is revealed as only one of the strings to his bow -- early into the opening "The Man," he unleashes a mean vibraphone solo as well. However, "Hold Me Back" quickly restates his lead duty and, though the song itself is little more than a crude rewrite of the Rolling Stones' "Stray Cat Blues," the riffs that scythe through the brew are sparkling enough to camouflage any lyrical redundancies. "Money Bag," too, offers up a showcase that is difficult to shake, dueling with a scat rhythm section that is tasteful enough to eat, but never overwhelming the mood. The passing of time has not preserved all of Patto's joys -- like so much of the fusion of the age, there are elements that sound preposterously overwrought today. At its best, however, it re-establishes all the glories for which Patto was renowned at the time; at its very best, it occasionally even overpowers the group.

Mike Patto (vocals)
Ollie Halsall (guitar, piano, vibes, vocals)
John Halsey (drums, vocals)
Clive Griffiths (bass)
1 The Man 6:08
2 Hold Me Back 4:42
3 Time to Die 2:55
4 Red Glow 5:16
5 San Antone 3:08
6 Government Man 4:21
7 Money Bag 10:05
8 Sittin' Back Easy 3:35

Overall, it's a kind of progressive tough rock with some jazz flavours.
All turns around a lead-guitar, bass-guitar and drums headed by a raw singing.

Highly recommended!
Rip from CD 256@ (full artwork included)
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JACKSON HEIGHTS – KING PROGRESS – 1970 (UK) progressive rock

When Keith Emerson disbanded The Nice, Lee Jackson decided to hang up his bass guitar and go back to 'simpler' music. With this in mind he gathered together some musicians he had known for a number of years: Charlie Harcourt, Tommy Sloane and Mario Tapia. The result being the first Jackson Heights album King Progress, on which Jackson sang and played acoustic guitar. The standout tracks are 'Mr Screw' and a reworking of the old Nice song 'The Cry of Eugene'. It did not sell in any great numbers. The band started to drift apart and Jackson's next recruitment began.
Joining him were John McBurnie and Brian Chatton, both multi-instrumentalists. He did not, however, recruit a drummer. The band was now a trio with Jackson playing bass, sounds familiar! McBurnie took over the majority of the writing with all three sharing the vocals and a second Album The Fifth Avenue Bus, was recorded with Mike Giles on drums. At this stage the band was touring as a trio, without a drummer. There are no outstanding tracks on the album and once again there was a lack of commercial success.
Undaunted, writing and recording of the next album, with Brian Chatton now contributing to the song writing, began. The resulting album Ragamuffins Fool, was easily their best so far. There was almost a hit single with 'Maureen' and the overall sound was of a band confident in what they were doing. Again most of the drumming was done by Mike Giles. They toured, again without a drummer, and recorded their only Radio One Session in support of the album. It what was becoming inevitable it did not sell.
By now Lee Jackson was getting a bit downhearted and poorer, he was using his own money to keep the band solvent. The master plan was the dreaded 'Concept Album'. The theme was to be about the lives of the 'ladies' who worked in Burlesque theatre. It didn't quite work out that way but, armed with two drummers, Mike Giles and Ian Wallace, and a 20 piece orchestra they went into the studio and recorded Bump 'n' Grind. The publicity machine went into overdrive and the actual record was presented in a deluxe laminated sleeve. Even the record company wanted this one to be big! Guess what? that's right - it bombed.
A major problem in touring with the album was reproducing the orchestral sound. Jackson approached Patrick Moraz, Swiss keyboard wizard with a view to him touring with the band. He declined but suggested Jackson might consider forming a band with him. Moraz had the record deal and other finances in place. In view of his own 'money problems' Jackson agreed and with Moraz and ex Nice drummer Brian 'Blinkey' Davison formed Refugee.
Jackson Heights ceased to exist, leaving a legacy of four underated albums.

CHARLIE HARCOURT gtr, keyb'ds, vcls
LEE JACKSON vcls, gtr
TOMMY SLONE drms, perc
MARIO TAPIA bs, gtr, vcls
1 Mr. Screw
2 Since I Last Saw You
3 Sunshine Freak
4 King Progress
5 Doubting Thomas
6 Insomnia
7 Cry of Eugene

Formed by former Nice bassist and vocalist Lee Jackson when The Nice split in 1969. The name was taken from a district of New York. Musically they were more pop-orientated than The Nice, but they built up a good live reputation through relentless touring. Their debut album on Charisma made little impact although it did contain a fine version of an old Nice favourite Cry Of Eugene and another highlight was a similarly gentle, atmospheric song Insomnia. They re-emerged a couple of years later on Vertigo with 5th Avenue Bus, an album of melodic, well constructed and somewhat orchestrated pop-orientated material. This format was repeated on Ragamuffin's Fool, which was housed in a poster sleeve. After a final effort, Bump And Grind, they disbanded, but in 1974 Jackson formed Refugee, who cut an album for Charisma. After this he disappeared from the music scene for good.


Highly recommended!
Rip from CD 256@ (full artwork included)
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IGUANA – IGUANA – 1972 (UK) progressive rock

Not to be confused with American outfit of the same name, mysterious British band Igtia'na was'. formed in Southampton in early 1970s to release one excellent album and then disappear without a trace, The core of the band was guitarist/vocalist Bruce Roberts, bass-player John Cartwright and drummer Pete . • Hunt, The trio was augmented by strong dual brass-section – Ron Taylor on alto sax and tambourine and ' Chris Gower on trombone. The solid presence of horns together with excellent songwriting is what makss. Iguana’s only offering truly unique.

Despite the album being released on the well-known Polydor label, it quickly became one of its most obscure items, since for some strange reason nobody was interested in the great blend of loud jazz-rock and energetic heavy rock stuffed with progressive elemenets. Surprisingly enough, even Tapestry:.Of Delights, the Bible for any British psych/prog fan, missed this one! Time has come to unearth this minor classic.
The sound of Iguana is rich and colorful, based on permanent juxtapositions of heavy, some what funky guitar sound and jazzy saxophone riffs – most of the songs are catchy and easy-to-get-into, in spit'e of their complex structures. Though most of the tracks are vocal-driven, there are enough space foi" adventurous instrumental excursions, the band achieves a perfect balance between song-oriented stgff • and sophisticated progressive compositions (such is the longest piece on the LP, almost 9-minute “P.rice of Love”, reminding me of Colosseum, Mogul Thrash and other prcminent brass rockers of the eariy 1970s). Actually Brainchild's "Healing Of The Lunatic Owl" would be the closest comparison to Iguana’s. debut, only if Brainchild work was closer to progressive realms, Iguana veers more towards pure rocking sound, making the accent on sheer frank intensity of the early British rock music.
Unable to get the recognition they deserved, the musicians of Iguana almost decided to call it quits, when they've got noticed by prominent songwriter Jess Roden (ex-Alan Bown Set, ex-Butts Band). The . whole Iguana line-up became Roden's backing band, touring with him for several years and helping hini to record several highly acdaimed LPs in the mid-1970s (including Keep Your Hat On"). Although the col-laboration with Roden might probably be lucrative for Iguana musicians, it must be pointed out that'.it ended their short career as independent songwriters. However, the sole Iguana LP from 1974 proves they could really do a talented, original and highly creative music. This is the first ever CD-reissue of this great "lost" album.

Ron Taylor - Alto-sax Tambourine
Bruce Roberts - Guitar & vocals
John Cartwright - Bass guitar & Finger Drums
Chris Gower - Trombone & Tambourine
Pete Hunt - Drums & Congas
1. Iguana
2. Southampton Blues
3. Price Of Love
4. Power Of Love
5. I Don't Need No Buddy
6. Ron's Tune
7. Prostitute
8. Grey Day Lady
9. Celluloid Samba

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
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JOY UNLIMITED – REFLECTIONS – 1973 (GER) progressive rock

In the second half of the 1960s the Mannheim-based band known as Joy Bc The Hit Kids has gained a popularity in the club circuit, playing many live shows and issuing a bunch of singles on the Decca label. Their repertoire consisted mostly of simple adaptations of popular beat and rhythm'n'blues pieces, but the band's playing was incredibly tight and professional, while their female vocalist Joy Fleming could easily rival Janis Joplin in terms of rocking energy. With a considerable change of public prefer-ences in the late 1960s, the band's style moved towards psychedelic rock, but it still contained plenty of rhythm'n‘blues rudiments. The name "Joy And The Hit Kids" referred to the previous musical era so the band took the imposing title "Joy Unlimited" instead. Soon the contract with Polydor has been signed and in 1970 Joy Unlimited's debut album "Overground" has finally seen the light of day.
Musically it was a nice collection of short songs ranging from pop-rock to psychedelic-tinged blues-rock. Joy Fleming was clearly inspired by canis Joplin and her excellent vocal parts benefited this LP. Besides her, the band consisted of drummer Hans Herkeene, bassist/trombonist Albin Metz, key-boardist/vocalist Roland Heck, bassist/saxophonist/vocalist Dieter Kindl and guitarist/flautist/vocalist Klaus Nagel.
Soon after "Overground" being released, the band has been kicked out from Polydor (for unknown reasons), so their next effort, entitled "Schmetteriinge“ appeared a year later on the famous German progressive label Pilz. Indeed, it was a much more progressive effort, where the blues-rock showoffs, typical for the band's early years were excellently combined with proggy arrangements (igni saw the arrival of yet one winds-player Gerd Kothe) and even some free-jazz weirdness (listen to the track "Sensual Impressions”). Overall it was a wonderfully versatile album and fans of German prog would cer-tainly like it a lot. The important fact is that "Schmetterlinge" featured music written and performed for no less than a conceptual rock ballet! This album proved one of Joy Unlimited's ultimate masterpieces and has been also released in USA on the BASF label under the title "Butterflies“(English equivalent for "Schmetterlinge").
Following "Schmetterlinge” release, Joy Fleming left the band to pursue a solo career (which turned out pretty successful). Disappointed with this fact guitarist and one of the main songwriters Klaus Nagel dropped out as well, but the remaining quintet decided to keep on composing and performing music as Joy Unlimited so the American-born vocalist Ken Traylor has been called aboard to replace Joy. "Reflections", released in 1973 04 BASF, established the band as one of the leading German progressive acts. Here are no breathtaking stylistic diversity a-la "Schrnetterlinge“ – instead we get several excellent purely progressive tracks, reminiscent of Frumpy or Jane with the prominent horn-section added. Influences of folk, hard-rock and classical music has been mixed together to form a wonderful musical puzzle, very typical of the early 1970s progressive rock.
Traylor and Kindl left the band before its final album "Minne to be replaced with vocalist/guitarist Joschi Dinier, guitarist I-lans Lingenfelder 5 the returning Klaus Nagel. Once again released on BASF label, "Minne" (1974) signified the band's shift towards folk-prog, still they were far more competent on this field than many other German folk-prog groups. Yet one masterpiece from Joy Unlimited, this album contains several very tight and sophisticated tracks, departing from the rough heavy progressive rock of "Reflections". If "Schmetterlinge” is the most diverse Joy Unlimited's album ever and "Reflections" is the most energetic and rocking one, "Minne” could well serve as the most beautiful work the band ever recorded.
With the demise of this talented band German prog-rock scene lost one of its brightest representa-tives. Too bad Joy Unlimited hasn't got a wider recongnition in the time of their existence and even worse is that no their albums have been officially released on CD, while the original LPs has become very sought after. With this reissue you can dive into the wonderful world of the unlimited joy without pay-ing megabucks for the BASF LP. As brothers Freeman rightly put in their "Cosmic Dreams At Play" book, "Joy Unlimited were a constantly surprising and inventive band".

Ken Traylor Gesang, Gitarre
Roland Heck Tasten
Dieter Kindl Bass, Sax
Hans W. Herkenne Schlagzeug
Albin Metz Trompete, Fagott, Bass
Gerd Köthe Sax, Flöte
1 Reincarnation 4:35
2 Ocean of Ruins 5:03
3 King Richard's Court Jester 2:32
4 Colossos of Steel and Iron 2:28
5 Chrystal Palace 4:08
6 Motion Is Movement / Hate Nine and Ten 5:42
7 The Search for Father Time 6:43
8 Silently Sung 4:01
9 Question 4:21

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
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FLEUR DE LIS – FACING MORNING – 1972 (DENMARK) progressive rock

"Fleur de Lis" is a stoned progressive rock curiosity from Denmark. They delivered their unique album in 1972, largely made of fuzzed out improvised guitars, vintage organs and stressed pop vocals. "Home of mind" starts with a dreamy like prelude, carries on a colourful, amazing psych song, a good mention to the guitar breaks at the end. "Har I set" is a spacious, mysterious song for organs, voices, an almost kraut-sounding, darkness experience. "Facing Morning" is a melodic folk ballad with hippie accents and female vocals. "In love" is a fuzzy rock 'n roll trip with lot of Hammond organs and epic guitars. "Why" is a moody, melancholic ballad written in a rather pop style. "Bad loser" is an other melodic, sad rocking "trip", full of dreamy like organs. "Sympathetic attitude" is a normative beat rock song. "Wbn" is a melodic folk dreaminess, including gorgeously expressive guitars. A few conventions and many absorbing, moody songs with delicate melodies. Absolutely recommended for fans of (light) krautrock and prog related bands as Vanilla Fudge...

Leif Nielsen - guitar, vocals, clavinet
Bjarne Pedersen - guitars
Peder Pedersen - bass, acoustic guitar
Svend Thomsen - organ
Kaj Olesen – drums
1. Home Of Minds
2. Har I Set?
3. Facing Morning
4. In Love
5. Why
6. Bad Loser
7. Sympathetic Attitude
8. Sneen
9. East Hill Rag
10. Settlement
11. After The Settlement
12. Gensyn 1
13. Gensyn 111
14. WBN
15. Mood

Something of a legend among hardcore collectors, the original pressing of their album is almost impossible to locate. It was released on the local Aalborg (Northern Jutland) label Qualisound, which in the late sixties released singles by The Hunters and The Stamping Bricks. “Facing Morning” had a sound strongly inspired by the US West Coast sound but with more progressive leanings. As usual with limited pressings (which were often made for demonstration purposes only), the sound quality is rather primitive. All in all the album leaves the impression of unfulfilled promise, although "Home Of Minds" (8:06) rises above the remaining 7 tracks. For completists and fans of Scandinavian underground hippie rock.

Highly recommended!
Rip from CD 256@ (full artwork included)
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http://link-protector.com/324551/

JONESY – GROWING – 1973 (UK) progressive rock

Following on from their debut album No Alternative and sophomore set Keeping Up, Jonesy released Growing in 1973, their third and final album for the Dawn label. Overseen by top-notch producer Rupert Hine, it was certainly the best sounding set of the batch, and arguably their most adventurous, but that wasn't necessarily a good thing. The almost-12-minute long set closer "Jonesy" was a case in point. What should have been an exciting epic instead disintegrates into overindulgent improvisation. It starts off strong enough with the instruments circling around the organ and Mellotron, the electric guitar then storms in, and the piece pushes into R&B laced with funk and wah wah guitar. But then it fragments into a series of disjointed solos, and never really comes back together, although at times it's intriguing how the various instruments can evoke a genre with just a few notes or chords. Along the way, though, "Jonesy" loses the plot, better was the set opener "Can You Get That Together," where the band indeed get it together. Here too they tumble through genres, funk, surf, psych, jazz, R&B, and rock, but a strong melody and a coursing rhythm lace the song up tight, even when the group shift into the improvisational jazz section. "Know Who Your Friends Are" is similarly effective, as the band shifts tempos and moods, sliding from bright and light prog rock into slower, prettier passages that build and build, finally exploding into driving hard prog where the organ, guitar, and trumpet duel for supremacy. On "Hard Road" axeman John Evan Jones goes head to head with trumpeter Alan Bown, as the band exuberantly winds its way through Latin rhythms, funk, jazz, and rock. These musical battles were a new development, perhaps reflecting the internal tensions that soon saw the group split apart. And while the fencing certainly fed the number's excitement, on the downside, too often the musicians were going their own way, with no regard to the song or their bandmates. In the end, this leaves too much of the album feeling unfocused and disconnected.

- Alan Bown / trumpet, percussion
- Ken Elliot / synthesizers
- Bernie Hagley / saxophone
- Gypsy Jones / guitar, vocals
- John Evans Jones / guitar, vocals
- Jamie Kaleth / keyboards, Mellotron, vocals
- Morris Pert / percussion
- Plug Thomas / drums, vocals
1. Can You Get That Together (8:28)
2. Waltz for Yesterday (4:11)
3. Know Who Your Friends Are (6:14)
4. Growing (5:04)
5. Hard Road (3:56)
6. Jonesy [instrumental] (11:40)

The third work released in 1974 "Growing". A sense of existence of Alan Bown becomes strong, and it has changed from a symphonic sound to a funky sound. It is a very yborecedebted and a fine work of a psychedelic content. String music is unlimited and is beautiful. Above all, a stout performance is a masterpiece of the charm.

Thanx to Chris

Highly recommended!
Rip from CD 256@ (cover included)
Download link
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Covers link
http://massmirror.com/d19018f242d4ff350dde91be5a5cec7d.html

SIR HEDGEHOG – SIR HEDGEHOG – 2002 (CAN) vintage hard rock/stoner rock

There are certain things that one usually expects from stoner rock: fuzzy guitars, some type of interest in the occult, and a Black Sabbath fixation. All of the above are ingredients of this self-titled disc by Sir Hedgehog, a Vancouver, Canada-based outfit that is very '70s-minded but without being totally retro. Without question, this stoner combo has been heavily influenced by the classic metal and hard rock of the '70s -- not only Ozzy Osbourne-era Sabbath, but also Led Zeppelin, Deep Purple, Rush, and Uriah Heep. Nonetheless, Sir Hedgehog's CD isn't an exact replica of '70s metal; the band has enough of a grunge influence to appeal to the alternative metal scene of the 1990s and 2000s and avoid sounding dated. There are times when the Canadians make some mildly Soundgarden-ish moves, and they even bring to mind Jane's Addiction on parts of "The Cleavage and the Clamp" (which makes sense when you consider that Jane's Addiction and Sir Hedgehog share an enthusiasm for Led Zeppelin's legacy). One thing that this band will never be accused of is lacking a sense of melody; for all its intensity and forcefulness, Sir Hedgehog is consistently melodic -- not to mention intricate. Although original material dominates this CD, the band throws in a most unlikely medley of covers at the end -- one that isn't listed in the credits. The instrumental "Olympus Mons" is followed by a hidden track that unites Blondie's "Call Me" with Sabbath's "Children of the Grave" -- not exactly the most obvious combination, but the songs work surprisingly well together. One of the more memorable stoner efforts of the early '00s, Sir Hedgehog's CD is easily recommended to fans of this type of metal.

Jonas Fairley: vocals
Paul Slater: guitars
Brendy Marklinger: bass
Steve Oliver: drums
1 Otherside
2 Magic Garden
3 Mountain Of Attention
4 Monster
5 Freedom Guild United
6 Chu De Phat
7 Gimme The Bone
8 Bitchlord
9 The Cleavage And The Clamp
10 Olympus Mons - Blonde Sabbath

Unbelievable catchy, damn tasteful riffs and grooves. The vocalist has a really powerful and clean vocals, rather moving in the higher regions, sometimes reminding me on strongest and emotional essence of Robert Plant; the guitars are ripping and do the leads finestly, and heavy as hell! The sound is killer (God, what a guitarsound!), the whole album totally rules, superb release, get it right now!

HIGHLY RECOMMENDED!!! MONSTER!!!
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CORE – THE HUSTLE IS ON – 1999 (US) heavy psych/stoner rock

Somewhere between Hendrix, Cream, Blue Cheer, and Pangea-era Miles Davis. This South-Jersey trio's follow up to their Atlantic Records debut "Revival". "The Hustle is On" was recorded at Trax east Studio with Eric Rachel (Electric Frankenstein, The Atomic Bitchwax) and showcases their folkier side without compromising on the heavy rock.

Finn Ryan (guitar, vocals)
Carmine Pernini (bass)
Tim Ryan (drums)
1 The Monolith Problem 5:49
2 Supernumber 4:49
3 LD 5 1:05
4 Fleetwood 2:31
5 Sarah's Curious Accident 4:17
6 No.5 in a Series 0:47
7 Vacuum Life 3:20
8 Square and Round 3:50
9 Skinny Legs and All 1:44
10 [untitled] 4:41
11 Bicycle and Tricycle 0:51
12 Edge City 6:08
13 Blues for Gus 15:54

This is classic blues/acid rock in my book; a definative time warp of an album. A more contemporary reference would be what “In Search of...”-era Fu Manchu would have sounded like if they had more diversity in songwriting and been prone to lengthy blues jams.

HIGHLY RECOMMENDED!!! MONSTER!!!
Rip from CD 256@ (full artwork included)
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http://link-protector.com/302896/

ABDULLAH – GRAVEYARD POETRY – 2002 (US) hard rock/stoner rock

Abdullah's sophomore release improves upon an uneven debut by concentrating more on the band's Stonehenge rock tendencies as opposed to the southern gothic dabbling that previously diluted the band's sound, making Graveyard Poetry the best St. Vitus or Trouble record in ages (the latter is especially evident on "Pantheistic"), with a nice mixture of dirgy, doomsaying downers, mid-tempo grinders, and a complete lack of anything breaking the speed limit (not that this is missed). Most of the tracks go on for several minutes, but even the ones that clock in at only four minutes or so have an epic feel to them, making the disc a plodding affair that's the perfect soundtrack accompaniment to the sounds of bubbling bongwater and the munching of Cheetos. A track that actually crushes bones would be nice, however; maybe the third time will be a charm in that respect.

Jeff Shirilla vocals
Alan Seibert guitars
Ed Stephens bass
Jim Simonian drums
1 Rune 0:27
2 Black Helicopters 6:19
3 A Dark but Shining Sun 3:36
4 The Whimper of Whipped Dogs 5:15
5 Deprogrammed 3:54
6 Pantheistic 3:40
7 Beyond The Mountain 4:49
8 Salamander 5:04
9 Strange Benedictions 7:14
10 Secret Teachings of the Lost Ages 4:05
11 Medicine Man 4:37
12 Guided by the Spirit 4:02
13 Behold a Pale Horse 7:58
14 They, The Tyrants 3:39

This is a really good effort ... way more eclectic than most metal releases. This
one has many different colors and textures, from straight-on metallic assaults to
quiter, more subtle dirges. It's all tied together by the smooth crooning of Jeff
Shirilla. While the music is firmly planted in extreme metal, the vocals are more
akin to guys like Layne Staley or Keith Caputo adding to the dexterity of this
band. Also, the accompanying lyrics and artwork are both breath-taking and
intriguing. This is the total package and you can tell these guys poured their
hearts into it. I can easily see these guys breaking into the mainstream (for better
or for worse), but either way fans of heavy and melodic music: this is for you.

HIGHLY RECOMMENDED!!!
Rip from CD 256@ (full artwork included)
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http://link-protector.com/302890/

THE MUSHROOM RIVER BAND (ex SPIRITUAL BEGGARS) – MUSIC FOR THE WORLD BEYOND – 2000 (SWE) vintage hard rock/stoner rock

Maybe it's the Mushroom River Band's ultra-clever name, or perhaps it's their debut album Music for the World Beyond's nearly-as-nifty title, but, whatever the reason, the music contained in the Swedish band's debut seemed a little disappointing when compared to their makers' way with words. More likely it's because, although expertly recorded and enthusiastically performed, full-throttle entries such as the title track, "Racing," and "Way to Go" simply lack that extra bit of songwriting invention to set them apart. Significantly, even nearly perfect stoner rock gems like "Mud Crusher" and "29' 2 1/2" (Into Thin Air)" suffer from a crippling case of "genre status quo" -- the likes of which will leave many listeners asking: "Now, where have I already heard that one before? Kyuss? Monster Magnet?" Similarly, the group's instrumental eponym track (lasting barely a minute and a half in duration) sounds like nothing less than a tribute to the guitar-solo-happy Atomic Bitchwax, and, were it not for its unconventionally percussive mid-section (think Brazilian drum squads gone north of the Equator), the neck-snapping "More Beer (Pelekas Part 1)," would be equally predictable. Therefore, one has to settle for the wicked quasi-doom riffs of "Addicted" for a final moment of "wow" before Music for the World Beyond descends into a mostly forgettable sameness, brought to unsatisfying conclusion by the unnecessarily sprawling, forcedly mellow "Free." All of which reiterates the assertion that, while difficult to fault within strict stylistic lines (i.e. stoner rock 101), this album can't quite live up to preconceived expectations -- something the Mushroom River Band would not let get in the way of their much improved second album, 2002's Simsalabim.

Christian "Spice" Sjöstrand (vocals)
Anders Linusson (guitar)
Alexander "Saso" Sekulovski (bass)
Chris Rockstrom (drums)
1 To the World Beyond 2:47
2 Mud-Crusher 3:07
3 Racing 2:50
4 Way to Go 2:51
5 29' 2½" (Into Thin Air) 5:10
6 The Mushroom River 1:39
7 More Beer (Pelekas Part I) 4:31
8 Addicted 5:54
9 Sir B's Tune 3:23
10 A Sad Story 3:46
11 Nurse 1:40
12 Free 7:50

A collection of upbeat songs that are full of energy from beginning to end, and remind me a lot of early Magnet, Orange Goblin, and a little like the FuManchu stuff...and even a little of that same kind of guitar energy that The Atomic Bitchwax gets.

HIGHLY RECOMMENDED!!!
Rip from CD 256@ (full artwork included)
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http://link-protector.com/302909/

THE MUSHROOM RIVER BAND (ex SPIRITUAL BEGGARS) – SIMSALABIM – 2002 (SWE) vintage hard rock/stoner rock

Building on the promise of their solid debut, the Mushroom River Band's second effort, 2002's Simsalabim, delivers energetic Scandinavian hard rock of the finest vintage. With frontman Spice deciding to commit himself fully to this project after relinquishing his primo position with Michael Amott's very successful Spiritual Beggars, one gets the distinct feeling that the Mushroom River Band really mean business now. Indeed, Simsalabim generally avoids the first L.P.'s more experimental distractions to focus almost entirely on pedal-to-the-metal intensity, as the quartet bulldozes their way through these ten songs, with barely a moment's respite. Opening with the turbocharged title track and the devastatingly fast tandem of "Bugs" and "Make it Happen," the band is clearly relishing in their fast 'n' furious philosophy. Eventually, they find time to toss a brief acoustic bridge into the excellent fourth cut "Change It,"and then finally take a breather with the steady-rollin' "Proud of being Cool," which qualifies as the disc's longest track despite lasting only a mere four-and-half minutes. Like the Spiritual Beggars, whom they resemble in many ways even without their shared vocalist, the Mushroom River Band exudes utmost confidence in what they're doing without necessarily blowing your mind with brilliant innovations to the stoner rock genre; but then there's something to be said for a damn good hard rock album that never lets up -- this is one such album.

Christian "Spice" Sjöstrand (vocals)
Anders Linusson (guitar)
Alexander "Saso" Sekulovski (bass)
Chris Rockstrom (drums)
1 Simsalabim 2:24
2 Bugs 3:12
3 Make it Happen 3:05
4 Change it 3:24
5 My Vote Is Blank 4:27
6 Tree of No Hope 3:03
7 Proud of Being Cool 4:39
8 Time-Laps 3:01
9 The Big Sick Machine 3:45
10 Run, Run, Run 3:55
11 Hidden Track 3:28

MRB features the vocal talents of Spice, who is also frontman for Spiritual Beggars. Music For The World Beyond features a dozen fuzzed-out, rock cuts that are sure to elevate this record to classic status.

HIGHLY RECOMMENDED!!!
Rip from CD 256@ (full artwork included)
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http://link-protector.com/302910/

KRUX (CANDLEMASS) – KRUX – 2002 (SWE) space doom

Just why bassist Leif Edling felt the need to form yet another doom metal band besides his main concern, legendary doomsters Candlemass, is anyone's guess. But classic doom is what Sweden's Krux are all about, and except for the different personnel involved, their eponymous debut could almost pose as a Candlemass record, if truth be told. Dominated as it is by the same manner of oversized riffs, detuned guitars, and unhurried rhythms, beautifully melancholic songs like "Krux" and "Omfalos" owe much of their distinctive tones to the commanding voice of one-time Yngwie Malmsteen band singer Mats Levén. Outstanding opener "Black Room," for example, might have struck too close to home in that regard, only thanks to Levén's contribution, it sounds less like Candlemass than the apex of Tony Martin-era Black Sabbath. Prime instigator and songwriter Edling is in fine form as always, coming forward to sing on the sparse interlude "Sibiria" before unleashing waves of distorted bass effects on the spacy "Evel Rifaz." Freed from his bass-playing gig with Entombed, Jörgen Sandström takes full advantage of his opportunity to peel off one bludgeoning power chord after another; and guest soloists Nicko Elgstrand (Terra Firma) and Fredrik Akesson (Talisman) also take turns playing guitar hero, proffering stinging leads to such head-banging anthems as "Nimis" and "Enigma EZB," respectively. Meanwhile, Carl Westholm also pitches in with judicious doses of synthesizers, occasionally brought to the fore, but mostly used for accenting purposes. Krux finally veer slightly from their trad-doom formula on the multipart, 12-minute "Lunochod" -- whereupon trippy bleeps and squawks see them embarking on sonic traipses through the cosmos. This slight departure notwithstanding, Krux is a doom metal record through and through, and especially ideal for Candlemass fans.

Mats Levén (vocals)
Leif Edling (bass)
Jörgen Sandström (guitar)
Peter Stjärnvind (drums)
Carl Westholm (keyboards)
1 Black Room 5:50
2 Krux 7:05
3 Nimis 3:57
4 Sibiria 2:10
5 Omfalos 6:40
6 Enigma EZB 4:54
7 Popocatépetl 4:52
8 Evel Rifaz 2:19
9 Lunochod (I) Sputnik (II) Ural (III) Space Nation Mother Russia (IV) Oceanus Procellarum (V) Moon/Doom (Luna 1721) (VI) Sputnik I (VII) Bring Me the Head of Nikita Chrusjtjov 12:10

Krux is a Swedish doom-metal project headed up by Candlemass bassist Leif Edling, and also features singer Mats Levйn (Yngwie Malmsteen), guitarist Jцrgen Sandstrцm, and drummer Peter Stjдrnvind, both from Entombed. The CD features long epic tracks filled with slow, doom-laden guitar riffs, a pounding rhythm section, Leven's histrionic vocals, and the ominous organ, Mellotron, & Moog of guest keyboard player Carl Westholm. There is a decidedly 70's Black Sabbath meets 80's Candlemass feel throughout, resulting in one of the strongest doom releases in many years.

HIGHLY RECOMMENDED!!!
Rip from CD 256@ (full artwork included)
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http://link-protector.com/302906/

KRUX (CANDLEMASS) – KRUX II – 2006 (SWE) space doom

Finally… after a four year long wait we get treated to Krux's second album, simply called II. Back in 2002 the metal world was hit by one of the best debuts in a long time by a band called Krux. A doom band consisting of a slew of metal merchants who had already gained their spurs with bands such as Entombed, Candlemass, Yngwie J. Malmsteen, Abstrakt Algebra. The most famous members, of course, being bassist Leif Edling and vocalist Mats Levén.
Now the time is ripe for another Krux album with all the Candlemass problems culminating in that band more or less splitting up.
And the big question everyone's asking is: Was the wait worth its while? Hell yeah, it certainly was. What we have here is a near perfect album. Krux II grabs you by the balls from the word go only to release its grip after 48 minutes whereas the debut fizzled out like a candle with the closing track's psychedelic ramblings.
II's opener Serpent strikes like a cobra with its meandering riff, first retreating and then lunging out only to totally draw you in with the floating keyboard lines in the background and the incredible vocals of Mats. In Sea Of Doom Mats' howls are truly phenomenal, somehow reminding me of great vocalists such as Ronnie James Dio and Glenn Hughes without sounding anything like those two.
All the songs are crushingly heavy old school doom which are memorable without going off into cheese territory. Best example in case being Depressive Strokes Of Indigo which has a chorus so memorable that you'll be singing along to it after having heard it only once and without it being a cheesefest.
So, eight tracks of pure memorable old school doom with, of course, Black Sabbath, early era Trouble, and Candlemass influences galore but with a modern and individual sound to it. Ingeniously built up around one or two riffs with keyboards floating around in the background adding great atmospheric touches, just as keyboards are supposed to be utilised in doom. And to top it off the incredible pipes of Mats Levén. One of the best vocalists around in the current metal scene. A voice so versatile it is unbelievable, swooping from low to high, from clean melodic to raspy and back.
Standout tracks (although all eight are fucking ingenious) are Serpent, Sea Of Doom, and Depressive Strokes Of Indigo. These are certain to become live classics when Krux decides to do more live performances.
Certainly the album of the year for me up to now. Any other band will be hard pressed to top this. Good luck to them.

Mats Levén (vocals)
Leif Edling (bass)
Fredrik Åkesson (guitar)
Jörgen Sandström (guitar)
Peter Stjärnvind (drums)
Carl Westholm (keyboards)
1 Serpent 5:12
2 Devil Sun 7:33
3 Sea of Doom 6:24
4 Lex Lucifero 5:41
5 Pirates 5:27
6 Depressive Strokes of Indigo 7:39
7 Too Close to Evil 5:26
8 The Big Empty 4:40

A really great album, and a bunch of awesome songs from the Sea of Doom. "Devil Sun" and "Depressive strokes of indigo" just has to be heard !

HIGHLY RECOMMENDED!!!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/302903/

JANIS JOPLIN BOXSET 5CD + BONUS TRACK + 1 RARE TRACKS

A limited-edition five-CD box set comprising both albums that Janis Joplin made with Big Brother & the Holding Company (Cheap Thrills and Big Brother & the Holding Company), both of her solo albums (I Got Dem Ol' Kozmic Blues Again Mama! and Pearl), and a bonus EP with five previously unreleased recordings. Each of these four albums includes previously unreleased bonus tracks (including live material), and each is available separately with the same bonus cuts. The tracks on the bonus EP aren't available anywhere else, and if you're devoted enough to consider laying out for this deluxe box, you're probably most interested in what's on that fifth disc. There are a couple of Cheap Thrills outtakes, "It's a Deal" and "Crazy Once You Know How," with a garagey feel and some typically scorching, uninhibited Big Brother lead guitar; it can be seen why they may not have been deemed strong enough for the album, but they're pretty cool to have. The live versions of "Maybe" (April 1969) and "Raise Your Hand" (October 1969) are OK, but not essential; of greater curiosity is the raw live charge through "Bo Diddley" (also October 1969). In the original long-box shaped release, each of the CDs is packaged in a mini-LP-type jacket, which would be really cool except for the fact that, cheapskates that Sony management is, none has an inner-sleeve, so the CDs tend to roll out of the sleeve once they're unsealed, unless you put them back in the box very carefully; additionally, the producers didn't re-create the gatefold design of Cheap Thrills; there are two subsequent versions of the set, a domestic wide CD-sized box containing full, jewel-cased versions of the five discs, and a Japanese version in mini-LP sleeves (with inner sleeves) and with two accompanying booklets. Note that this box does not include a good deal of material that has shown up on the Janis box, the Janis movie soundtrack, In Concert, and Farewell Song, so it's not a complete collection of Joplin's recordings.

HIGHLY RECOMMENDED!!!

ENJOY!!!

BIG BROTHER & THE HOLDING COMPANY – BIG BROTHER & THE HOLDING COMPANY – 1967 (US) blues rock CD1

The debut, self-titled album from Big Brother & the Holding Company is an evolving paradigm, ten tracks initially issued on Mainstream Records, a label that would have success in 1968 with "Journey to the Center of the Mind" by Ted Nugent's Amboy Dukes. Unfortunately for Janis Joplin and Big Brother & the Holding Company, the respectable performances and all of the material on this disc are undercut by a weak production that sounds rushed. Recorded on December 12, 13, and 14 of 1966, it's quite telling that perhaps the best two songs from the sessions, Peter Albin's tribal-sounding "Coo Coo," and Janis Joplin's fiery "The Last Time," were only available on a 45 RPM and played as treats on FM radio "rare tape" nights. Those two songs have an intensity and drama missing from laid-back album cuts like "Easy Rider" and "Intruder." Big Brother's strength sans Janis was their ability to experiment and rely heavily on ideas to make up for their lack of musical prowess. Sad to say, there is little of that experimentation here. Even a potential science fiction Peter Albin composition, "Light Is Faster Than Sound," comes off like an audition tape instead of the hit it could have been had it the cosmic explosion of a "Journey to the Center of the Mind." The album does contain interesting studies of future classics, like Moondog's "All Is Loneliness" (the street poet eventually signing with Columbia himself), and Joplin's creative arrangement of "Down on Me," making it more of an entertaining textbook than a deep musical experience. It was the lack of product from superstar Janis Joplin which kept putting an emphasis on this release with little else available to satisfy rabid fans who couldn't get enough Janis. Columbia picked up the album and re-issued it in its original form, then reissued it again with "The Last Time" and "Coo Coo" added. In 1999, former Cars' manager Steve Berkowitz coordinated a superb 14-track re-release with invaluable Sam Andrew liner notes and an eight-page booklet, alternate takes of "Call on Me" and "Bye, Bye Baby" opening up the vaults and giving more insight. Almost four decades after their release, these naive recordings remain a precious snapshot because of the spirit and enthusiasm of the superstar just emerging from the grooves.

Janis Joplin (vocals)
Sam Andrew (guitar, vocals)
James Gurley (guitar, bass, vocals)
Peter Albin (bass, guitar, vocals)
David Getz (drums)
1. Bye, Bye Baby
2. Easy Rider
3. Intruder
4. Light Is Faster Than Sound
5. Call On Me
6. Women Is Losers
7. Blindman
8. Down On Me
9. Caterpillar
10. All Is Loneliness
11. Coo Coo - (single)
12. Last Time, The - (single)
13. Call On Me - (previously unreleased, alternate take)
14. Bye, Bye Baby - (previously unreleased, alternate take)

Rip from CD 256@ (full artwork included)
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