воскресенье, 30 декабря 2007 г.

VYACHESLAV MESCHERIN’S ENSEMBLE OF ELECTRO-MUSICAL INSTRUMENTS – easyUSSR (1964-1980) – 2001 (USSR) space age pop

The Ensemble of Electro-Musical Instruments directed by Vyacheslav Mescherin was founded within the music department of the State Radio of the Soviet Union in 1957. For more than thirty years, from the Fifties up to the Eighties the music of Ensemble Mescherina could be heard on radio and TV, in radio plays and cartoon movies almost every day. The ensemble managed to compose more then 700 pieces of music until 1990. Some of Mescherins compositions are public domain by now and can be hummed by everyone in Russia. One example is the track 'On the chicken farm', which was used in the very popular cartoon series 'Rabbit and Wolf'. In 1959 the Soviet government asked Mescherin for an electronic sound recording of 'The Internationale', to be sent to outer space on board of the first sputnik. Mescherin also designed and built many electronic instruments himself. Balalaikas, accordions and guitars, which he amplified, now sounded as if played on another planet. Mescherin and his ensemble were more or less the only experimental musicians in the field of electronic music in the USSR up to the Sixties. Thanks to the Moscow label Snegiri some of Mescherin's recordings have been dug out again of the Russian radio archive and released on CD again. It's a shame Mescherin (1923-1995) himself didn't live to see this. The Ensemble Mescherina is a crucial part of the musical history of the Soviet Union.

01 On The Way To School (3:28)
02 Sketch (3:20)
03 Dancing Shake (2:55)
04 At The Summer Cottage (2:14)
05 Froggy The Princess (1:49)
06 How A Hare Cheated A Fox (1:22)
07 Cuba My Cuba (2:53)
08 The Last Year In School (2:37)
09 El Bimbo (2:16)
10 Ethiopean Joker's Dance (2:03)
11 Penguin's Dance (2:41)
12 On The Kolkhoz Poultry Farm (2:11)
13 On The Beach (2:54)
14 Dancing Dwarves (3:27)
15 On The Azure Gulf Coast (6:12)
16 When It's Frosty In The Street (2:08)
17 Frogs (1:49)
18 Night Melody (3:10)
19 Gallop #2 (1:38)
20 Fantasies On Peru Themes (1:43)
21 Music Box (1:18)
22 Popcorn (2:36)

Lossless
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VYACHESLAV MESCHERIN’S ENSEMBLE OF ELECTRO-MUSICAL INSTRUMENTS – easyUSSR, Part Two: 70s-80s (1967-1986) space age pop

01 Porcelain Statuette
02 Siberian Melody
03 Vologda Lace
04 Lute
05 Bear Club
06 Persistent Robot
07 A Fine Day
08 Spinning Wheel
09 Oh, Philanderer
10 Deep Thought Dance
11 Flowers
12 Haunting Melody
13 Evening Bossa-Nova
14 Garret
15 After The Rain

Lossless
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суббота, 29 декабря 2007 г.

STILLBORN – THE PERMANENT SOLUTION – 1991 (SWE) doom metal

It all started in early 1984, when Kari Hokkanen and Petter Bryneson met Ingemar Henning. Kari and Petter were about to form a band, and they needed a guitarist to get started. Henning, who had been playing the guitar for only a year, accepted the offer to be in the band.

.....They made one obscure gig under the name The Cranium, before they realised that they needed a second guitarist. They met Erik Sandqvist at the legendary Einstürzende Neubauten concert in Gothenburg 1984, and since he owned a Fender Twin Reverb, he could consider himself hired.

.....They made a lot of local gigs, some in Denmark as well, during 1985-86, and released their tape Tounge the thong (yes, it's misspelled) in 1985. It was made in 100 numbered copies, and became rare immediately. Petter left the band in 1986, and Peter Asp took his place as the drummer.

.....Soon they started to record what would become their debut Necrospirituals (released 1989), they didn't have a contract yet, but a deal was signed with Radium in 1988. Necrospirituals divided the critics in two halves; either they loved it, or they hated it. Nowadays, Necrospirituals have become a real cult-record. Songs from it have been covered by Paradise Lost and Entombed, amongst others.

.....Stillborn did a concert at the Hultsfred Festival in 1989, but soon after that the lead-singer Kari left the band. To replace Kari booth as a singer and as a bass-player, Henrick Karlsson and Sami Miari joined the band. The new line-up did a concert at the Berlin Independence Days festival in 1989, but soon after that Erik also left the band.

.....When Kim replaced Erik, the final line-up were complete, and the record company (Radium) they were signed to, was sold to MNW Record Group. They released The permanent solution 1991, and State of disconnection 1992, both recorded in Silence Studio, located in the deep Swedish forest.

.....The band did a lot of concerts, such as Popkomm, Cologne 1991 and Roskilde Festival 1992. They also did a couple of European tours.

.....In 1994 when the plans were to make a fourth record, things didn't worked out as expected, and Stillborn were history. But the members weren't history: Sami, Kim and Henning formed Colossus, together with Messiah Marcolin (Candlemass, Memento Mori), and Peter continued with Mary Beats Jane.

Henrick Karlsson (vocals)
Ingemar Henning (guitar)
Kim Sandström (guitar)
Sami Miari (bass)
Peter Asp (drums)
1 Father of Lies 4:44
2 Tears in the Rain 5:03
3 Don't Box Me In 4:34
4 Maximizer 4:17
5 Flexible Bullet 7:10
6 The Evil That You Do 4:57
7 Children of God 5:10
8 Intoxication 5:52
9 Dark Eternity 5:36
10 Permanent Solution 6:25
11 The Remains of Silence 7:13

HIGHLY RECOMMENDED!!!
Rip from CD 256@ (full artwork included)
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http://link-protector.com/328375/
http://link-protector.com/328376/

STILLBORN – STATE OF DISCONNECTION– 1992 (SWE) hard rock/heavy progressive/doom metal

From Abba and the Cardigans to jazz improvisers like Lina Nyberg and Jeanette Lindström, singing in English hasn't been a problem for Swedish artists. While some Swedish rockers and popsters choose to sing in Swedish exclusively and are content to play for mostly Scandinavian audiences, others make a point of becoming fluent in English. So if you checked out the Stockholm club scene in the 1980s and 1990s, you would have found everything from dance-pop and hard bop to thrash metal performed in English. On State of Disconnection, Stillborn's lead singer Henke gives little, if any, indication that English isn't his native language. Though Swedish is his primary tongue, Henke's English is fine. In fact, forceful yet melodic numbers such as "House of Love" and "The Tension Grows" could have easily come from an American thrash act. Influenced by bands like Metallica and Anthrax, Stillborn specializes in a style of thrash that borders on mainstream metal. State of Disconnection isn't pop-metal -- no one will mistake it for the work of Bon Jovi or Warrant -- but it certainly isn't grindcore either. Although not earth-shattering and not overly distinctive, the CD is generally satisfying, and it indicates that Stillborn had potential.

Henrick Karlsson (vocals)
Ingemar Henning (guitar)
Kim Sandström (guitar)
Sami Miari (bass)
Peter Asp (drums)
1 State of Disconnection
2 Bubble
3 The Tension Grows
4 Sorry
5 House of Love
6 Constant Companion
7 A Wonderful Time
8 Non Serviam
9 Question of Time
10 Comfort of Absence

HIGHLY RECOMMENDED!!!
Rip from CD 256@ (full artwork included)
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PENANCE – THE ROAD LESS TRAVELED – 1992 (US) doom metal

PENANCE rose out of the ashes of DREAM DEATH in the beginning 90s and those DREAM DEATH were pioneers in terms of Death Metal/Sludge/Doom with their “Journey Into Mystery” record. PENANCE now is a pure Doom Metal act in the vein of TROUBLE, OBSESSED or SAINT VITUS. A culty contribution on the legendary “Dark Passages” sampler activated the interest of Lee Dorrian (CATHEDRAL) and he signed PENANCE for his record label Rise Above.
They released their debut “The Road Less Traveled” in 1992 and nobody knew that time that there already existed an earlier, better edition of this record. This is now what I have here from the original master tapes and it has supposedly a better sound and better atmosphere.
I’m not familiar with the other record, so I have to rely on this work and I have to say, that it’s a great one! PENANCE are very, very gloomy, not always sludgy but also progressive, psychedelic and unpredictable. If you love older TROUBLE, you’ll love PENANCE, too. But this is even more evil and sicker. Especially the vocals of Brian Lawrence are full of wrath and rough and he’s not wailing as others on so much Doom acts. The guitar department loves it extensive and the guitar sound reminds really of original TROUBLE on their debut album. There are super heavy anthems full of desperation, sorrow and world weariness, complete with countless changes and breaks.
This is surely something, fans of the “straight” doctrine probably criticize on PENANCE… not me, as I like Doom with much variety as long as it keeps a morbid atmosphere…

Brian Lawrence - vocals/guitars (Dream Death)
Terry Weston - guitars (Dream Death)
Richard Freund - bass
Mike Smail - drums (Cathedral, Dream Death, Internal Void, Pentagram)
1 The Unseen
2 A Wayfarer's Tale
3 If They Would Cut My Throat Out ...
4 Misgivings
5 Soulrot
6 Not What It Seems
7 Penance

do you like forest of equilibrium, into darkness and journey into mystery? if you replied ''yes'' to any of the previous questions, you do need this, as it is effectively the lost DREAM DEATH album. titanic, life-changing, sludge-encrusted DOOM.

HIGHLY RECOMMENDED!!!
Rip from CD 256@ (full artwork included)
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http://link-protector.com/328380/
http://link-protector.com/328381/

PENANCE – PARALLEL CORNERS – 1994 (US) hard rock/stoner rock

Fusing rock, doom, and metal, Pittsburgh's PENANCE have, over the course of their 10+ year career, become one of the most revered acts within the scene that spawned TROUBLE, THE OBSESSED, SLEEP and a myriad of 70's influenced hard rock bands. Starting with their "Living Truth" demo released in 1990, PENANCE quickly gained the respect of such bands as CATHEDRAL, which led to drummer Mike Smail playing on CATHEDRAL's "Forest of Equilibrium" debut. After a European tour alongside CATHEDRAL and SLEEP, PENANCE released their debut CD "The Road Less Traveled" on CATHEDRAL frontman Lee Dorrian's Rise Above Records in 1992. This garnered enough interest worldwide to pave the way for a deal with Century Media, who released PENANCE's sophomore disc "Parallel Corners" in 1994. "Parallel Corners" was praised by Martin Popoff in "The Guide to Heavy Metal" as one of the five top "post-Sabbath" albums ever released. After several lineup changes front man Brian "Butch" Balich joined PENANCE in 1997, and PENANCE continued to perform live as well as release the "Bridges to Burn" demo in 1998 and the self-released "Proving Ground" CD in 1999. In 2000 PENANCE joined forces with Matt Tuite (ex-WICKERMAN, MUSTACHE) and Mary Bielich (ex-MYTHIC, NOVEMBER'S DOOM, EM SINFONIA) leading to the strongest PENANCE lineup to date. Since then PENANCE has played live alongside Spirit Caravan, Warhorse and Raging Slab, to name a select few. Their Martyr Music Group debut, “alpha and omega” showcases a band of diverse influences and extraordinary talent, whose output spans everything from doom to rock to metal; nine tracks which prove that real ROCK never died.

Lee Smith - vocals
Terry Weston - guitars (Dream Death)
Frank Miller - bass
Mike Smail - drums (Cathedral, Dream Death, Internal Void, Pentagram)
1 Words Not Deeds 5:11
2 Born to Suffer 8:03
3 Words to Live By 5:17
4 Destroyed by One 7:19
5 Crosses 4:03
6 Visions 7:54
7 Reflections 8:37
8 Monster I've Become 6:19

A much hyped doom album at the time, and I must say it's pretty rare for me not to like any doom album, but this one just doesn't do it for me. Some good '70's vibe to it, but this fits in more with the post grunge stoner rock scene then it does to the honest to goodness Sabbath inspired doom to my ears.

HIGHLY RECOMMENDED!!!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/328383/

PENANCE – PROVING GROUND – 1999 (US) hard rock/stoner rock

Penance's third album, 1999's Proving Ground, was their first in five years and kicked off a very productive, far more stable new phase in the band's thus-far troubled career. It also marked the recording debut of new vocalist Brian Bailich (who'd already been singing with the band for almost two years), and his confident combination of melody and muscle brought a new versatility to help expand the scope of the band's mid-paced doom metal songwriting. The opening title track already hints at this, but it's with second song, "Cloudless," that the Pittsburgh doomsters' really hit their stride, locking into a rolling, surging power riff that quickly tattoos itself into the senses, and rarely relinquished itself thereafter. As with any true doom band, Black Sabbath is the overpowering touchstone, but glimpses of British doom masters Cathedral and California titans Saint Vitus also pepper the likes of "Transcending," "Cast in Grey," and "Slipping" -- all of which regularly showcase excellent solos in the Iommi/Wino vein from Terry Weston. Traces of the legendary Vitus/the Obsessed/Spirit Caravan leader can also be heard in Bailich's more tortured tones, and drummer extraordinaire Mike Smail also reaffirms his considerable reputation with a powerful show of force behind the kit. Even more significantly, Penance's collective performance on additional highlights such as "Dead Already" and the unusually groove-intensive "Never Lost" clearly signals their arrival as contenders with a distinctive voice.

Brian Balich - vocals
Terry Weston - guitars (Dream Death)
Ron Leard - bass
Mike Smail - drums (Cathedral, Dream Death, Internal Void, Pentagram)
1 Proving Ground
2 Cloudless
3 Transcending
4 Dead Already
5 Bitter
6 Pain
7 Never Lost
8 Cast In Grey
9 Bleed You
10 Circle 9
11 Slipping...

HIGHLY RECOMMENDED!!!
Rip from CD 256@ (full artwork included)
Download links
http://link-protector.com/328384/
http://link-protector.com/328385/

PENANCE – ALPHA AND OMEGA – 2001 (UK) hard rock/stoner rock

Black Sabbath may be the most influential rock band in existence behind the Beatles. It is incredible how many bands have taken not just ideas, but virtually whole careers based on the music they made in the early to mid-'70s. Penance is one of these bands, churning out thick riffs and slow songs that would make Tony Iommi proud. Where this genre, known as doom metal, tends to fail is when they have to write songs instead of just heavy riffs. Few bands realize that Ozzy Osbourne's catchy vocal lines and Geezer Butler's simple lyrics helped make them as good as they were. Sabbath imitators from Saint Vitus to Candlemass to Earth have all been guilty of just writing riffs before, and Penance falls into the same trap. Songs like "See the Light" have pounding, heavy guitar parts that drive the band along into a droning frenzy. But what Penance cannot do is lay down a memorable, catchy vocal line the way that Osbourne could. Without something like that to grasp onto, it is hard to sit through the long, doom-laden songs. To be fair, Penance is very good at making these type of tracks, they just need to reign in their tendencies to jam and come up with some better hooks. This may be an unusual request of a ten-year-old band, but it is never too late to shape up into a unique and powerful act. This is not the album where that happens, making this something that only dedicated genre fans will probably enjoy.

Brian Balich - vocals
Terry Weston - guitars (Dream Death)
Mary Bielich - bass (Em Sinfonia, Novembers Doom)
Mike Smail - drums (Cathedral, Dream Death, Internal Void, Pentagram)
Matt Tuite – guitars
1. Wizards of Mind
2. New Machine
3. See The Light
4. Reaching
5. Eden Fallen
6. Love Dies
7. Cold
8. Drown Me in a Sea of Empty
9. Misery Song


HIGHLY RECOMMENDED!!!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/328386/

пятница, 28 декабря 2007 г.

EYES OF BLUE – CROSSROADS OF TIME – 1968 (UK) psychedelic R&B

The Eyes Of Blue evolved during the mid-sixties from covers and R&B band The Mustangs, based in Neath. The early line-up consisted of Wyndham Rees (Vocals), Ray Williams (Guitar), Ritchie Francis (Bass), Melvyn Davies (Guitar) and David Thomas (Drums). Thomas had replaced Byron Phillips in October 1964 a month before the change of name, and before too long Melvyn Davies also decided to leave, reducing the Eyes to a four-piece. Starting out as a soul-based R&B band the Eyes quickly established a strong reputation in the South Wales music scene. They played the same circuit as many other familar groups, The Bystanders, The Jets, and took in gigs in Llanelli, Swansea, Skewen, Cardiff and Neath, winning a few local talent competitions on the way. Early in 1966 drummer Thomas was off and away, and John Weathers was drafted in as a temporary replacement. From another Neath based band - the Smokestacks - came keyboard player Phil Ryan, and vocalist Gary Pickford-Hopkins.
By May that year the band were ready to turn professional. During the late spring and summer of '66 Eyes Of Blue entered and won the national Melody Maker 'Beat Contest', which offered the chance of a one year Decca recording contract. This turned out to be something of a poisoned chalice as none of the tracks recorded for Decca were representative.

Once the Decca contract had expired the band signed with the Mercury label, and during March to July 1968 recorded their first album across a number of sessions in Chappell Studios, London. Later that year the Eyes backed american singer-songwriter Buzzy Linhart on his album 'Buzzy' released on the Phillips label. When some critics suggested that this could be a more productive route an angry Ritchie Francis responded; "We will not be called a backing group for anyone"

Crossroads Of Time

The Eyes debut album 'Crossroads Of Time' was eventually released early in 1969. It included two Graham Bond R&B songs (Bond also wrote the sleevenotes) 'Love Is The Law' and 'Crossroads Of Time' which was especially written for the band. It also included an interesting version of Love's '7 + 7 Is' while The Beatles' 'Yesterday' is given a treatment suggesting something of a jazz hymn. Ritchie Francis claimed the remaining songs of which 'Inspiration For A New Day' is noteworthy and 'Prodigal Son', which features some psychedelic guitar work from Ray 'Taff' Williams. 'Largo' is an arrangement of the Handel piece by Ritchie Francis and he claimed this was indicative of the way the group were going.

Following on from their earlier collaboration with Buzzy Linhart, the Eyes also worked with Quincy Jones when they contributed to the unreleased 'Toy Grabbers' film score. Later they also appeared in the film 'Connecting Rooms' as well as playing on the soundtrack, but the film wasn't given a general release in the UK.

Wyndham Rees was eased out of the Eyes Of Blue before the spring of 1969, having reputedly contributed little to the band. He was present during most of the Chappell Studios early recording sessions for the group's second album 'In Fields Of Ardath' but was gone by the time they gravitated to more modern eight-track facilities. It was released in November and is generally regarded as the more successful and 'progressive' of the two albums released under the Eyes Of Blue name. Quincy Jones supplied the sleevenotes this time, and commented; "All the ethnic qualities which I had recalled about the people of Wales were manifest in that tape. There was a native sensuality in their playing. Eyes Of Blue was musically curious." The record has also been described as having "Pop, R&B jazz, classical, psychedelic and Eastern influences." A fair sprinkling one must admit.

In a further collaboration, John Weathers and his co-Eyes Of Blue members Gary Pickford-Hopkins and Phil Ryan also helped out when Welsh based band Ancient Grease entered the studio to record the 1970 album 'Women And Children First'. After the album was released in July 1970 the band reverted to its original name, Strawberry Dust, and spent a short while in Hamburg. They disintegrated on their return but Gareth 'Morty' Mortimer and Graham Williams later lined up together again in Racing Cars.


In an attempt by Mercury's UK A&R chief Lou Reizner to revitalise the Eyes Of Blue, the group released their final album under the name Big Sleep but the group never performed live under the new name, and folded within months of its release. The album, 'Bluebell Wood' is accomplished enough but the quirky nature of the production does sometimes fail to integrate the music into a seamless whole. Sombre in overall feel, Phil Ryan described it in 1976 as; "the most miserable LP - it makes Lou Reed look like the Bay City Rollers!" With two keyboard players the album is laden with piano/organ textures and , as Martin Mycock noted in his 1993 TWC review; "Overall the album is definitely more coherent than previous [Eyes Of Blue] efforts with more emphasis on instrumental work - rightly so with players of the calibre of Taff and Phil".
The Eyes Of Blue played their farewell gig at the Gwyn Hall in Neath during the summer of 1970, bowing out in style and on home ground.
The fortunes of Phil Ryan, John Weathers, Taff Williams and Gary Pickford-Hopkins can be followed through incarnations of Man and other acts from the Man family tree. Phil joined Pete Brown in Piblokto! before moving on to Man, and John joined Gentle Giant, spent time with Phil in the Neutrons, and then became Man's longest serving drummer after the band reformed in 1983. Gary fomed Wild Turkey with Glenn Cornick and Graham Headley-Williams (of Strawberry Dust). Taff Williams became a Neutron for a while in the mid seventies, and teamed up with Gary again in The Houseband in 1980. The pair performed as a duo in Re-Session, and with Terry Williams and Dai Bell worked as The Broadcasters into the early nineties. Ritchie Francis stayed with Lou Reizner at Mercury, and under his guidance recorded and released a solo album, 'Songbird', on the Pegasus label before eventually dropping away from the music business.
Whilst there have been partial reunion gigs played in 1972 and 1977 it looks unlikely that the full original line-up will ever get it together again.

RITCHIE FRANCIS gtr
GARY PICKFORD HOPKINS vcls
PHIL RYAN keyb'ds A B
WYNDHAM REES drms
RAY WILLIAMS bs
1 Crossroads of Time 5:00
2 Never Care 3:18
3 I'll Be Your Friend 3:48
4 7 + 7 Is 2:32
5 Prodigal Son 5:27
6 Largo 3:14
7 Love Is the Law 5:16
8 Yesterday 4:22
9 I Wonder Why 3:13
10 World of Emotion 2:48
11 Inspiration for a New Day 3:09

The Eyes of Blue's debut album is a rather typical bottom-drawer late-'60s psychedelic effort, going over much of the musical map without charting new territory or doing especially interesting songs. Chunks of British harmony pop, soul, trendy Eastern-tinged psychedelia, and early progressive classical-dipped melodies and arrangements all bump around in the mix, though they don't cohere too memorably. The Welsh group did have a more organ-based sound than many of their U.K. peers, and the band's keyboardist, Phil Ryan, has admitted that Graham Bond was a big influence on his style on this album. Bond's input wasn't limited to this; he also wrote two of the songs, "Crossroads of Time" and "Love Is the Law" (though they were credited to "D. Stewart," aka his girlfriend, Diane Stewart), both of which Bond himself would record slightly later on his 1969 album Love Is the Law. The Eyes of Blue's version of "Love Is the Law" sounds more like the early Bee Gees than Graham Bond, though it's actually one of the better songs on the record. "Crossroads of Time" is likewise one of the relative highlights, starting off with an atomic explosion and Phantom of the Opera organ, though its lyrics are pretty blatant hippie sloganeering. It's an indictment of the weakness of the group's original material (by guitarist Ritchie Francis) that the most notable other track is one of the most eccentric covers of the Beatles' "Yesterday" you'll hear, arranged to sound almost like a classical hymn.

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
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BEEFEATERS – BEEFEATERS – 1967 (DENMARK) blues/garage/beat rock

Denmark, whilst not well known for its rock/blues groups, actually did have a number of really good bands. Alongside Midnight Sun, Gasolin', Ache, Culpeper's Orchid, Burnin' Red Ivanhoe and others, Beefeaters were one of their country's best outfits. They first started out as an early sixties beat outfit, later changing to a more bluesy/soul/psych style in 1966. Their initial line-up included Lars Kofoed and Jimmy Sardorff on guitars, Niels Mortensen on drums, Soren Seirup on bass and vocals, and Kurt Parking on on rhythm guitar. They were quite successful and were popular in the clubs, but they disbanded in 1964. Seirup and Sardoff reformed the band in 1965 with new members Erling Madsen on drums and Morten Kjaerumgard on organ Keith Volkersen on bass and Max Nhuthzhi on drums, and they released their debut album in 1966 and toured with outfits like The Kinks and the Pretty Things to support it. In November 1968, they supported bluesman Alexis Korner on a Danish tour and he contributed guitar on two tracks on their new album (our featured album). Thorup later left the band, teaming up with Korner in England to form New Church, C.C.S. and Snape. The Beefeater's albums are quite rare but now that they've been released on CD, it gives listeners outside of their home country the opportunity of finally hearing the magic of this great blues/rock outfit.

Peter Thorup (vocals, guitar, flute)
Morten Kjærumgård (organ)
Erling "Mozart" Madsen (drums)
Flemming "Keith" Volkersen (bass)
1. It Ain't Necessarily So
2. Crossroads
3. My Babe
4. I Want You
5. Hey Little Girl
6. Papa's Got A Brand New Bag
7. Let Me Down Easy
8. Shakin' Fingerpop
9. Night Flight
10. Summer Scene

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/324537/

четверг, 27 декабря 2007 г.

FUSION ORCHESTRA – SKELETON IN ARMOR – 1973 (UK) progressive rock

A short-lived progressive/hard-rock outfit. The album is now quite sought-after. Except When My Momma's Not At Home, which is essentially a mainstream rock 'n' rollin' piece with a brass arrangement, the remaining tracks, Sonata In Z, Have I Left The Gas On?, A Skeleton In Armour and Talk To The Man In The Sky are superb, especially the first two. Sophisticated compositions with astonishing and strong female vocals, superb manic guitar leads, powerful drumming, electric piano, flute and harmonica solos make this recommended listening.

Dave Bell (drums)
Dave Cowell (bass, harmonica)
Colin Dawson (guitar)
Sten Land (guitar, synthesizer, percussion, horns)
Jill Saward (guitar, synth, flute, vocals)
1. Fanfare Suite For 1000 Trampits(Part I)
2. Sonata In Z
3. Have I Left The Gas On
4. O.K Boy, Now's Our Big Chance
5. Skeleton In Armour
6. When My Mama's Not At Home
7. Don't Be Silly Jilly
8. Talk To The Man In The Sky
9. Fanfare Suite For 1000 Trampits(Part II)

Love the sound of this album - Jill Seward had a great voice and looked good as well. She's now singing with Shakatak - elevator music unfortunately

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/319434/

FOX – TAILS OF ILLUSION – 1975 (UK) progressive rock

The band's sound was moulded by the female vocals of Noosha Fox, an American who launched a solo career when they split. They enjoyed considerable commercial success in their relatively short lifespan, particularly with two of their 45s, Only You Can and S-ssingle Bed.
Noosha Fox, she of the sexy voice, left the group in 1977 to go solo. Surprisingly, she achieved only one solo hit, Georgina Bailey. Nonetheless, her departure spelt the death knell of the group, which split after the mediocre Blue Hotel album. Irishman and ex-Wheels guitarist Herbie Armstrong and Kenny Young were later in Yellow Dog and Armstrong worked with Van Morrison in the late seventies and early eighties.

Noosha Fox (vocals)
Herbie Armstrong (guitar, vocals)
Kenny Young (guitar, percussion, vocals)
Pete Solley (keyboards)
Jim Gannon (guitar)
Gary Taylor (bass)
Jim Frank (drums, percussion)
1. Yuli Yuli
2. Survival
3. Strange Ships
4. For Whatever It's Worth
5. Little Brown Box
6. Minor Therapy
7. Lily Sing
8. Kupu Kupu
9. Howdja
10. Me Without You

The 2nd Fox album included a song previously made by Kenny Young on his album "Clever Dogs Chase The Sun",while "For whatever its worth" would be a single for the future Yellow Dog.
No hit singles this time round but another collection of good songs with lead vocals by other Fox members.
Sleeve shows a detail of a Balinesian painting and the inner sleeve a studio shot

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/314200/

ATLANTIS - IT'S GETTING BETTER – 1973 (GER) heavy krautrock/blues

Atlantis' second album, It's Getting Better, was the first to be recorded with new members Dieter Bornschlegel (later to join Guru Guru) and Ringo Funk, but it remains firmly cemented within the explorative realms that highlighted the band's debut, at the same time prompting the U.K. music press to describe the band as "the most English of all German groups." This was due in large part to vocalist Rumpf's avowed love of jazz and soul. The funky elements in no way outweighed Atlantis' prog instincts, however, with the seven tracks each spreading out in directions that confirmed the heroics of Atlantis and, in places ("Drifting Winds," "Fighter of Truth"), even surpassed it. The opening title track, too, is a triumph, and well deserving of its inclusion on DJ Andy Votel's much-loved Vertigo Mixed anthology.
Inga Rumpf - lead vocal, acoustic guitar, percussion
Jean-Jacques Kravetz - keyboards
Karl-Heinz Schott - bass
Dieter Bornschlegel - guitars
Ringo Funk - drums, percussion
+
Gasper Lawal - afro-percussions
1 It's Getting Better 4:50
2 Drifting Winds 5:06
3 Days of Giving 7:23
4 Changed It All 6:05
5 Fighter of Truth 6:17
6 Woman's Sorrow 3:23
7 A Simple Song 1:59

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
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среда, 26 декабря 2007 г.

TRACE – TRACE – 1974 (DUTCH) progressive rock

The new band of the Keyboard Maestro Rick Van Der Linden would be an opportunity of continuation of his work, blending classical music to rock. This time the band was reduced to a trio, but the excellence here is like it was in Ekseption.
The first song Gaillarde, is an arrangement of a Bach concerto, but the classical organ and mellotron arrangements lasts only a minute more or less. THen comes moog and organ pyrotechnics, accompained by excellent rhythm section. The drumming is impressive and give a fantastic rhythm to the keyboard improvisations. The keyboard improvisations are superb. It is the delight of any keyboard addicted. Then the conclusion is somewhat in the classical standards.
Then some variations again with a great bass solo. It is the second song, Gare le Corbeau. A great drum and bass number, with very interesting bass solos.
The second part of Gaillarde comes in sequence, returning the main theme, with some improvisations, in a lesser extent that in the first part, but there are outstanding organ parts, mainly a great organ solo with the help of a frenetic rhythm section. Then a part with great harpsichord, organ and mellotron until the end of the song.
The next song, The Death on Ice, a Grieg piece starts with a beautiful piano intro. Then good moog solo and mellotron passage. Then some piano and synthesizer again. Then a emotional part with organ, mellotron and good drumming to the end with synthesizers.
The next piece is The escape of the piper, with great piano, rhythm section and mellotron. This is a short upbeat piece, showing the skills of Rick Van der Linden as a composer. There is a great synthesizer solo in the middle and again the main arrangement.
The next song is another Rick composition, named Once. With a good organ arrangement. There is a superb bass and organ solo in the middle of the song. The organ solos are the highlight of this song.
Then comes Progression, the "12-minute-epic" of the album, with a very interesting piano and synthesizer intro, that resembles nothing a classical piece. Then the omnipresent organ comes, with crazy chord progressions. Then an excellent moog solo with mellotron strings. Then some great organ solos. Rick´s work with organs is fantastic. Then a fantastic moog solo makes this song a complete orgy to keyboard fanatics. The variations over the themes and the different sounds and tones of the keyboards make this song a masterpiece, with haunty, mellow, soft, spatial sounds.
The next song is A Memory, a traditional piece arranged by Rick. The song is very beautiful, with great organ, mellotron and synthesizer, one sounding like a flute (or recorder). The beautiful piece continues until the end. It is somewhat short. Then the last song, The Lost Path, is a great drum solo, giving the spot to Pierre Van der Linden. More than 2 minutes of drums and then some organ riff in the end, with the return of A Memory, second part.
The last song, final trace, is a beautiful song comprising great piano and organ arrangement. Great mellotron, organ and moog solo in this beautiful song to close the album.
The album is a "keyboard lesson" to everyone and a superb album for the symphonic rock fans.

Rick Van Der Linden (vocals, keyboards, Hammond B3, Hohner clavinet and pianet, ARP, harpsichord, Solina string-ensemble, Mellotron, church organ)
Jaap van Eick (bass)Pierre Van Der Linden (drums)
1 Gaillarde 6:22
2 Gare le Corbeau 2:04
3 Gaillarde 4:36
4 The Death of Ace 5:15
5 The Escape of the Piper 3:13
6 Once 4:13
7 Progression 17:00
8 A Memory 3:47
9 The Lost Past 3:26
10 A Memory 1:40
11 Final Trace 3:52
Bonus tracks:
12 Progress 4:05
13 Tabu 4:14

Absolutely fantastic instrumental progressive rock from Holland.TONS of superb and technically perfect hammond organ playing by Rick Van Der Linden who proves why he is justly regarded as one of the keyboard wizards in progressive rock.For me he IS the best next to Dave Stewart(Egg,National Health,etc).Apart the organ ,there is a fair amount of the holy Mellotron and almost any other kind of vintage keyboards you could dream of ..
If you like keyboard driven progressive rock this album is a total must ! And i am really curious how mr.Emerson felt when he listened to this outstanding stuff...

Highly recommended!
Rip from CD 256@ (artwork included)
Download links
http://link-protector.com/319435/
http://link-protector.com/319436/

TRACE – BIRDS – 1975 (DUTCH) progressive rock

This is the second of three records by Trace, a trio led by keyboardist Rick van der Linden. By the time they recorded their second LP just one year after taping their debut, they had already
undergone a change in personnel, with Ian Mosely replacing Pierre van der Linden on drums. The album's first side is sort of an extended suite, though it is an incongruous mix of pipe organ with a plodding electric bass and drums during "King Bird." "Preacher Bird" features a weak lyric sung with little feeling by bassist Jaap van Eik and has a prominent role for the acoustic piano, although the synthesizer and harpsichord sneak in as well. "Bouree" is taken from Bach's "English Suite No. 2 in A minor" (BMV 807) and is turned into a miniature hard rocker before it deteriorates into a comical midsection with fake bird calls and a tiresome vamp. But "Opus 1065," the leader's interpretation of Bach's "Concerto for Harpsichord and Strings in A minor" (BMV 1065) never picks up sufficient steam, though it features some tasty violin by guest Darryl Way. The one true bright spot of this release is van der Linden's sprightly solo piano arrangement of jazzman Bix Beiderbecke's "In a Mist," which unfortunately is barely over a minute in length. The downhill slide of Trace on this second LP is painfully obvious, so it is doubtful that there is much demand for this long-deleted record.

Rick Van Der Linden - keyboards
Jaap Van Eik - bass, guitar, vocals
Ian Mosley - drums, timpani, gong, tambourine
+
Darry Way - acoustic & electric violin on 4
Coen Hoedeman - assorted monkeys on 1
1. Bourree (2:27)
2. Snuff (2:28)
3. Janny (In A Mist) (1:15)
4. Opus 1065 (7:46)
5. Penny (2:53)
6. Trixie-Dixie (0:38)
7. King-Bird (22:01)
8. Birds (Short Edit) (3:41)
9. Tabu (Second Version) (4:14)



Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
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TRACE – THE WHITE LADIES – 1976 (DUTCH) progressive rock

This album is the third and last release of the Dutch band TRACE. Although the band’s name is TRACE, the line-up resembles EKSEPTION much more than TRACE (with Peter de LEEUWE on drums, Cor DEKKER on bass, Dick REMELINK on sax, all three former members of the old EKSEPTION). As such, it sounds much more like an EKSEPTION album than a TRACE album, classical themes interspersed with rock and jazz. With this album Rick deviates from the original TRACE concept, which was completely keyboard dominated, and he introduces sax, strings as well as a female singer (Hetty SMIT). Thus, the album sounds very different from the previous TRACE albums, the music is more structured and refined, and the ‘wild’ element is restrained in favour of nuance and melody. The Dutch folklore story of the White Ladies is the source of inspiration for this album, which starts out with a narrative accompanied by strings. Most of the music is written by Rick van der LINDEN, but he has not forgotten to incorporate themes from Beethoven as well: in the song ‘Pathetique’ and ‘The Rescue’ Rick uses themes from Beethoven’s 8th and 3rd sonata for piano. In the tracks ‘Dance of the White Ladies’ and 'Witches’ Dance’ the ‘wild’ element steps into the spotlight, while in tracks like ‘Doubts’, ‘Surrender’ and ‘Conclusion’ the wild element leaves the spotlight to the melody. There are moments when the drums lack punch and imagination, and at these times the absence of the original TRACE drummer Pierre van der LINDEN is felt. But, all in all, this is a very balanced album, and I found it highly enjoyable. This release of the original album on CD is (like the other two albums from TRACE) done in an excellent way by the MUSEA team, with detailed documentation about the history of the band and its leader, Rick van der LINDEN.

Rick Van Der Linden / keyboards
Cor Dekker / bass
Peter de Leeuwe / drums
Dick Remelink / saxes, flute
Hans Jacobse / additional keyboards
Hetty Smit / vocals
Harry Schafer / narrato
1. Legend Part 1
2. Interlude 1
3. Confrontation
4. Interlude II
5. Dance of the White Ladies
6. Doubts
7. Trace I
8. Witche's Dance
9. Surrender
10. Interlude III
11. Parthétique
12. Legend Part 2
13. Interlude IV
14. The Rescue
15. Trace II
16. Back Home
17. Meditation
18. Flash Back
19. Conclusion

Excellent release from this exceptional band. The keyboard combinations, arrangements and solos are fantastic, after all they were played by a master, Mr. Rick Van Der Linden. Very good bass and drums also. The weakest point is the vocals, which are rare but a little naif. If you like Triumvirat or even ELP, you should buy this cd. A conceptual album, very interesting and very contagious. A true masterpiece.

Highly recommended!
Rip from CD 256@ (artwork included)
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вторник, 25 декабря 2007 г.

CHIRCO – THE VISITATION – 1972 (US) progressive rock

Previously known as Sassafrass, this progressive rock outfit came from Westchester County, NY, although they also spent some time recording in New England. There's a lot of fuzz and vibes on their fine album, which Barry Tashian of The Remains helped the band record. Every track's a winner in what is for the most part a stunning blend of guitar and keyboards. The finest moment is probably the final track Child of Peace and there's also a cover of Barry Tashian's Mister Sunshine.
The album was originally issued on a local Colorado label, although the band were apparently never based there - a very curious marketing strategy!

For every undiscovered rock or pop gem that springs from the late Sixties and early Seventies, there are dozens of albums whose hype far exceeds their musical quality. Occasionally, an album will arise from this era with its musical virtue still wholely intact, but, tragically, it is impaired by a single element that could have been easily avoided had the same consideration been given to it as to the music. The sole 1972 album, Visitation, by Chirco is one such misfortune. Chirco was actually originally a studio project led by percussionist Tony Chirco and producer Michael Cuscuna rather than a proper band, but eventually the New York band Sassafrass came aboard, and proved to be the project's saving grace. The musicianship in evidence on Visitation is uniformly ambitious and complex, with bassist Bruce Taylor and drummer S.H. Foote particularly impressive. They construct a swinging rhythmic underpinning that propels the music upward and forward, a match for the subtle spirituality of the lyrics. The album contains some of the hallmarks of progressive rock, especially the highly structured, conceptual songs that wear their pretensions on their sleeves, but although the usual rock instrumentation (drums, bass, guitar, keyboards) is present, Cuscuna also had the vision to variously incorporate horns and percussion, and the ubiquitous presence of electronic vibes helps Chirco create something that transcends progressive rock. The band's playing often approaches the texture and intricacy of jazz, with passages ranging from breezy to boldly powerful to grooving, and the album is equally demanding in that it does not contain proper songs; instead it consists of two side-long suites with each part rolling directly into the next without lulls or gaps. And although some of the music overreaches or descends into hackneyed hard-rock cliche, had Chirco stopped here, the album would have been a find. Unfortunately, the album is both dated and marred by the vocals, which are firmly planted in the '70s pedestrian hard-rock mold that emphasised histrionic wailing over expressiveness or genuine edge. With more idiosyncratic vocals, Visitation might well have had the right to claim itself a lost treasure from the progressive-psyche era. As it is, the album is hard even to enjoy for its good parts because they have been spoiled by the bad.

S.H. FOOTE keyb'ds
JOHN NAYLOR gtr
TED MACKENZIE drms
ANVIL ROTH vcls
BRUCE TAYLOR bs
1 Sound of the Cross 2:15
2 33 Years 3:51
3 Cause I Love You 3:43
4 Golden Image 7:00
5 Dear Friends 7:46
6 Mr. Sunshine 5:08
7 Minutes 2:51
8 Child of Peace 4:49

Pretty good progressive rock with a few touches of psych that mostly focuses on the guitar playing and keyboard/organ instrumentation. Instrumental opening track with some weird sound effects and pounding guitar sounds, which leads into blaring horn at start of second track. "33 Years" is a rather catchy tune with a great beat and some good keyboard or xylophone sounds or something that I don't hear often. "Cause I Love You" has some very good vocal harmonies while "Golden Image" is a solid rocker with a good slow organ break at the end. "Mister Sunshine" has some cheesy lyrics but has some pretty high energy guitar, which carries to the final song on the album.

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/314202/

EASTER ISLAND – NOW AND THEN – 1979 (US) progressive rock

The Easter Island story began in 1973. Mark Miceli (guitar and vocals) was the founding father of the project. To fill out the lineup, he enlisted Jon Lewis (bass), Don Harris (vocals and various other instruments), and Alexander Alexander (drums). Soon they added Ray Vogel on keys. Early on, Alexander was replaced with Lucky Carmean. The group went through quite a few more lineup changes before releasing their first album in 1980. That album was simply titled Easter Island. By 1981, the group had become a trio comprised of Bob Chapman (drums), Park Crain (bass), and Miceli. Easter Island split up in 1982, but that was not the end of the story. The group came back together in 1997, this time in the form of Miceli, Chapman, and Richard Streander.

Rick Bartlett - vocals
Park Crain - bass, synthesizers pedals
Mark Hendricks - drums
Mark Miceli - guitar, vocals
Ray Vogel - keyboards, Mellotron
1. Wanderer's Lament (3:20)
2. Face To Face (5:49)
3. Genius Of The Dance (4:18)
4. Solar Sailor (6:20)
5. Winds Of Time (6:46)
6. The Alchemist's Suite: Prelude (1:31)
7. The Alchemist's Suite: Life Celebration (4:18)
8. The Alchemist's Suite: (5:31) Telesterion
9. The Alchemist's Suite: Resurrection (5:51)
10. Summerland
11. Now And Then

This album starts off with Jean-Michel Jarre-like intro but don't be fooled. Globally this album has a touch of Yes with a rockier edge (as on "Face to Face"). This doesn't mean it is less complex, by no means (as on "The Alchemist's Suite") ! The vocals may be a tad annoying but the album is dominated by the symphonic music (which includes mellotron). A nice album to have if you already got the essential in progressive rock.

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/314203/

JON LORD – WINDOWS – 1974 (UK) progressive rock

The least impressive of all Jon Lord's 1970s flirtations with the classics, Windows -- a collaboration with synth wizard Eberhard Schoener -- was recorded live at the Eurovision presentation of Prix Jeunesse on June 1, 1974, in Munich. Performed by both a seven-piece rock band and the orchestra of the Munich Chamber Opera, Windows comprises just two pieces. The title track, which was built around a Far Eastern renga (a form of chain poetry), is highlighted, for longtime Lord watchers, by the inclusion of large swathes of the vocal segment of his earlier Gemini Suite; and the somewhat presumptuously intended "Continuo on B.A.C.H.," "a realization" (say the liner notes) "of a well-known incomplete fugue by Bach." Whether Bach himself would have appreciated the end result is, of course, another matter entirely. While "Continuo" certainly has its moments of quite sublime beauty, one is never allowed to forget what one is listening to -- an orchestra battling it out with a rock band, and only occasionally giving ground. The inclusion of David Coverdale and Glenn Hughes in the band is particularly eyebrow-raising. Though more or less ideal for the last years of Deep Purple, neither musician was what one would call subtle, with Coverdale's histrionic bellowing, in particular, swiftly distracting from the moods that the music and the other musicians are so patently attempting to maintain. Indeed, of the photos from the concert that bedeck the album jacket, one speaks louder than many words could -- it depicts Coverdale in full vocal flight, while the horn player beside him raises his eyes, apparently, heavenward. Overlook some of the rock band's excesses, however (including an utterly unnecessary jazz fusion passage during "Continuo"), and Windows does pack some breathtaking passages, both melody- and energy-wise. Like too many mid-'70s rock'n'classical hybrids, however, it simply tries too hard to be special.

Orchestra of the Munich Chamber Opera / Conductor: Eberhard Schoener
1 Continuo on B.A.C.H.
2 Window
a. 1st Movement
b. 2nd Movement
c. 3rd Movement

Experimental, orchestral music with rock-band.

Highly recommended!
Rip from CD 256@ (artwork included)
Download link
http://link-protector.com/314208/

понедельник, 24 декабря 2007 г.

FUCHSIA – FUCHSIA – 1971 (UK) progressive folk rock

"Their sole 1971 LP straddled gothic beauty and horror, and remains a surreal blend of joy and madness, a bewitching compound of gothic acid-folk, Canterbury whimsy and pop melody, complete with Pre-Raphaelite female backing vocals and highly ornate string arrangements...Fuchsia was unpredictable yet teemed with melody: eloquent string arrangements and rock rhythms collided and meshed with results veering from tempestuous to pastoral. 'Gone with the Mouse', and 'A Tiny Book' brought Syd Barrett-esque naivetй, 'Shoes and Ships' and the Durant/Chudley Louise-era collaboration 'Another Nail' were set to sweeping orchestral arrangements, while 'The Nothing Song' hovered in the realm of psychedelia . Then they added dreamy pop-rock with Chudley's 'Me and My Kite'(also from the Louise repertoire) and Durant's 'Just Anyone'..."

Tony Durant / acoustic & electric guitars, vocals
Michael Day / bass
Michael Gregory / drums, percussion
Janet Rogers / violin, backing vocals
Madeleine Bland / cello, piano, harmonium, backing vocals
Vanessa Hall-Smith / violin, backing vocals
1 Gone With the Mouse 5:03
2 A Tiny Book 8:06
3 Another Nail 6:47
4 Shoes and Ships 6:14
5 The Nothing Song 8:24
6 Me and My Kite 2:33
7 Just Anyone 3:30

Interesting, but not great album that mixes alot of the passing styles of the time. The most obvious influence is British folk-rock but there are some rock and progressive touches. The vocals are pretty good, as is the mostly acousitc guitar playing. "A Tiny Book" has a very good march-like bass and drum rhythm with more trademark strings thrown. "The Nothing Song" utilizes what sounds like a cello. "Just Anyone" has a very Barrett-esque sound with some weird string effects. "Me and My Kite" is a nice short pop song.

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/314150/

GRYPHON – GRYPHON/MIDNIGHT MUSHRUMPS – 1973/1974 (UK) progressive folk rock

Richard Harvey (keyboards, woodwinds, mandolin), Brian Gulland (renaissance wind instruments, bassoon, keyboards, vocals), Graeme Taylor (guitar, bass, recorder, mandolin, 1971-75, 1998-2003), David Oberl (drums, percussion, flageolet, vocals), Philip Nestor (bass, 1974, 1998-2003), Bob Foster (guitars, vocals, 1977), Alex Baird (drums, 1977), Malcolm Bennett (bass, flute, 1975, 2002), Jonathan Davie (bass, 1977)
Gryphon
This magnificent album is VERY acoustic: the miscellaneous childish but complex MEDIEVAL and slightly Celtic textures of string and wind instruments really steal the show here! The music is VERY sophisticated and well synchronized, rather funny and very disciplined. The bassoon and krumhorns make perfect and solid patterns with the acoustic guitars and mandolin. The rare keyboards I have noticed are harpsichord and harmonium if I am correct. There are no bass, and the rare drums are rather replaced by primitive percussions and small bells. There are many not bad lead & backing vocals like Ian Anderson's ones on the "Rover" track: I think this music does not need such vocals, because they negatively contrast with the delicate and graceful textures. I'm completely transported by the fluid, addictive and catchy second part of the more serious "Unquiet Grave" track. There are NO ordinary tracks. The overall style is a bit like Gentle Giant's Talybont track, without the electric guitars. On the next albums, Gryphon add bass, excellent keyboards and more drums, and they are more progressive rock still with many medieval parts.

1 Kemp’s Jig 3:07
2 Sir Gavin Grimbold 2:45
3 Touch and Go 1:29
4 Three Jolly Butchers 3:54
5 Pastime with Good Company 1:31
6 The Unquiet Grave 5:40
7 Estampie 4:53
8 Crossing the Stiles 2:25
9 The Astrologer 3:12
10 Tea Wrecks 1:06
11 Juniper Suite 4:49
12 The Devil and the Farmer’s Wife

Midnight Mushrumps
I have always preferred the Gryphon originals on their debut album, and Midnight Mushrumps explain why! Here are five lenghty instrumental originals and one traditional song, and it is the latter ("The Ploughboy's Dream") which represent the only non-perfect on this album. The song is good, but even an good song is out of place on an album that is perfect on all other ways. The remaning five instrumentals are beyond what I have ever heard: Harvey's 19 minute opus "Midnight Mushrumps (Suite)" is a composition, which at first seems to be line of melodies and shiftes tumbled together, will after some listenings reveal its true meaning, and everything forms into a synthesis. The suite is a blend of beautiful melodies and intelligent instrumentation. Wonderful all the way! Note Graeme's guitar playing at 10:49.
The three middle instrumentals have often by other reviewers been neglected, but I couldn't disagree more: Graeme's melodic "The Last Flash Of Gaberdine Tailor" with superplaying by GT himself and some intelligent percussion details by Oberlé, Gulland's "Gulland Rock" with its haunting keyboards and suddenly apparant beautifulness, and with Graeme's "Dubbel Dutch" it reach its peak. The intro and outro of "Dubbel Dutch" is perhaps, although still good, not what makes the tune noteworthy. But if you listen all that's inbetween (1:10 - 4:33), this really shivers and moves me, and that is why I regard "Dubbel Dutch" as one of the best compositions of all time, and clearly Graeme's best piece. And in the end we have "Ethelion", this piece has recieved alot of acclaim, and I can only agree with that. It has a beautiful melody-line, played by crumhorns, recorders and bassoon shifting in and out, great drums (of course) and acoustic guitar and a killer bass line from Nestor.
And as a final note, few people may note Nestor's bass alot on this album, and it was not until a sat down and listened for it, that I got surprised! Because the bass-lines are there, and they unbelieveable great, just listen to how Nestor plays with Graeme's guitar on "Dubbel Dutch" that is infact one of the reasons why this tune (and indeed album) is as great as it is. Amazing how Nestor in such a way makes memorable this with the clearly Renaissance folk sound, the band were still having. And topped with Graeme Taylor's amazing guitar playing, the various woodwinds (never have they sounded so great and appropriate as on this album), Harvey's various key instruments and some of the best compositions ever, this album is among the (very) few who gets the top grade.

1 Midnight Mushrumps 18:58
2 The Ploughboy's Dream 3:02
3 The Last Flash of Gaberdine Tailor 3:58
4 Gulland Rock 5:21
5 Dubbel Dutch 5:36
6 Ethelion 5:15

Highly recommended!
Rip from CD 256@ (full artwork included)
Download links
http://link-protector.com/314214/
http://link-protector.com/314217/

GRYPHON – TREASON – 1977 (UK) progressive folk rock

It is the last album I own from them. Their sound here is quite more electric than in the past, less folky. I think this record has a optimum balance between electric instruments and acoustic ones. Many would consider bad their new orientation, but one has to listen carefully and conclude that the tracks are sophisticated, very well played and very progressive. There are still tons of percussions (varied small bells among others). The bassoon is still well played, the required synchronization for complex changing patterns is still there. Harvey’s keyboards are more rhythmic, more accessible, despite he plays here some outstanding solos. The bass is complex enough and rather bottom. The omnipresent rhythmic guitars and keyboards, the miscellaneous vocals give some bits a style comparable to prog band Kayak. But of course the compositions are quite more elaborated. Different, yes, but still excellent!

Richard Harvey (keyboards, woodwinds, mandolin), Brian Gulland (renaissance wind instruments, bassoon, keyboards, vocals), Graeme Taylor (guitar, bass, recorder, mandolin, 1971-75, 1998-2003), David Oberl (drums, percussion, flageolet, vocals), Philip Nestor (bass, 1974, 1998-2003), Bob Foster (guitars, vocals, 1977), Alex Baird (drums, 1977), Malcolm Bennett (bass, flute, 1975, 2002), Jonathan Davie (bass, 1977)
1 Spring Song 10:00
2 Round & Round 4:30
3 Flash in the Pantry 4:57
4 Falero Lady 4:08
5 Snakes and Ladders 5:15
6 Fall of the Leaf 4:22
7 Major Disaster 4:04

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/315797/

суббота, 22 декабря 2007 г.

THE FREE DESIGN – COSMIC PEEKABOO – 2001 (US) psychedelic pop folk/sunshine pop

From Wikipedia:
The Free Design were a Delevan, New York-based vocal group playing jazzy pop music. Their music can be described as sunshine pop and baroque pop, which were pop music subgenres at the time, which later influenced the bands Stereolab, Cornelius, Pizzicato Five, Beck and The High Llamas.

Early work
The members were all members of the Dedrick family: Chris Dedrick (who wrote most of the songs), sister Sandy and brother Bruce were the original lineup. Younger sister Ellen joined the group later, and youngest sister Stefanie joined near the end of their initial career. Their father, Art, was a trombonist and music arranger. Their uncle, Rusty, was a jazz trumpeter with Claude Thornhill and Red Norvo. They formed the band while living in New York City. Chris has said the group was influenced by vocal groups like The Hi-Los (who performed in Greenwich Village frequently at the time) along with Peter, Paul and Mary and the counterpoint experiments of Benjamin Britten. Their trademark sound involved complex harmonies, jazz-like chord progressions, and off-beat time signatures, all products of Chris's classical training.
The band released seven albums from 1967 to 1972, the first six on Enoch Light's Project 3 label and the last one, There is a Song, on the Ambrotype label. For the most part, they were accompanied on the albums by studio musicians.
After the breakup, Chris Dedrick recorded a solo album, Be Free, which went unreleased until 2000, then moved to Toronto, where he became a music producer, arranger, classical composer and soundtrack composer. He has worked with directors Guy Maddin and Don McKellar, winning a Genie Award for Maddin's The Saddest Music in the World. In 1997 Dedrick won a Gemini Award for his work on the television series Road to Avonlea.

Revival of interest
During their career, The Free Design never gained the commercial success they, and a small fan-base, felt they deserved, a plight they noted in their 1969 song "2002 - A Hit Song", in which they describe how to create a hit, then continue, "there's just one fact that we can't quite shirk/ we did all this last time, and it did not work." They remained an obscurity after disbanding in 1972. Starting in the mid-90s, however, interest in them began to grow as part of a general resurgence of interest in easy listening and sunshine pop from the 60s and 70s. In 1994, Japanese musician Cornelius reissued the Free Design catalog on his "Trattoria" label. In 1997, the band Tomorrow's World covered their song "Kites Are Fun", and in 1998, the Spanish "Siesta" label put out four compilation albums of their music. Stereolab, whose lounge-inspired music clearly showed a Free Design influence, named a 1999 single "The Free Design" (though the song itself had no direct connection to the band). The Free Design song "Bubbles" was covered by Dressy Bessy on the 2000 Powerpuff Girls soundtrack.
Perhaps inspired by this newfound interest, in 2000 the band re-grouped, after a nearly 30-year retirement, to record the song "Endless Harmony" on the Beach Boys tribute album Caroline Now. This experience convinced them to record a new full-length album, 2001's Cosmic Peekaboo, which featured the original lineup minus Ellen Dedrick.
In 2001 the label Cherry Red released a Best of Free Design compilation. The Free Design song "I Found Love" was included on the 2002 Gilmore Girls soundtrack. From 2002 to 2005, the original albums were reissued in the United States by the Light in the Attic label. In 2005, the label put out The Now Sound Redesigned, an album of Free Design remixes from established acts like Stereolab, Super Furry Animals and Peanut Butter Wolf.

Free Design Discography:
LPs
PR 5019 SD
Kites Are Fun 1967
PR 5031 SD
You Could Be Born Again 1968
PR 5037 SD
Heaven/Earth 1969
PR 5045 SD
Stars/Time/Bubbles/Love 1970
PR 4006 SD
Sing for Very Important People 1970
PR 5061 SD
One by One 1971

45s
PR 45-1324
Kites Are Fun / The Proper Ornaments 1967
PR 45-1331
You Be You And I'll Be Me/ Never Tell the World 1968
PR 45-1336
Umbrellas / I Found Love 1968
PR 45-1345
Make The Madness Stop / Eleanor Rigby 1968
PR 45-1347
Close Your Mouth (It's Christmas) / Christmas is the Day 1968
PR 45-1350
You Could Be Born Again / A Leaf Has Veins 1969
PR 45-1352
Ellen Dedrick: Nature Boy / Settlement Boy 1969
PR 45-1356
Where Do I Go / Girls Alone 1969
PR 45-1358
Dorian Benediction / Summertime 1969
PR 45-1366
2002 A Hit Song / Hurry Sundown 1969
PR 45-1370
Butterflies Are Free / My Very Own Angel 1970
PR 45-1375
Bubbles / I'm A Yogi 1970
PR 45-1387
Don't Cry Baby / Time and Love 1970
PR 45-1404
A Friendly Man / Stay Off Of Your Frown 1971?

Ambrotype
LP
1016
There Is A Song 1972

Marina
CD
MA 50
various artists - Caroline Now! 2000

MA 52
Cosmic Peekaboo 2001

Beatball Records
CD
BEAT 10
Chris Dedrick: Wishes 2005

COSMIC PEEKABOO
For the 2000 release of the superb Beach Boys tribute album Caroline Now!, the legendary Free Design reunited for the first time in three decades, stealing the spotlight from the band's indie pop descendants with a beautifully poetic rendition of "Endless Harmony." The full-length follow-up Cosmic Peekaboo restores the group's brilliance to its original luster, reassembling the founding lineup of siblings Chris, Sandy, and Bruce Dedrick for a remarkable comeback effort that more than lives up to the standard of their past classics. Resisting the temptation to incorporate even a dash of the electronic pop approaches of avowed acolytes like Stereolab, the High Llamas, and Cornelius, on Cosmic Peekaboo the group picks up right where it left off — although the harmonies are deeper and even richer than before. The infinite warmth and affection at the heart of all the Dedricks' work remains intact, with every note utterly free of the irony and detachment prevalent throughout so much of the music produced in their absence. Although Cosmic Peekaboo's incandescent performances and majestic arrangements barely acknowledge the 30-year gap, the lyrics cast a knowing eye on the Free Design legacy — the elegiac "Younger Son" evokes vintage classics like "Kites Are Fun" and "My Brother Woody," while "The Hook" updates the group's still-relevant chart lament "2002 - A Hit Song," gently chiding a new generation of navel-pierced pop icons while taking to task the music industry's reliance on style over substance. The record's emotional centerpiece is the haunting "Day Breaks," a sweepingly angelic tribute to sister Stefanie, to whose memory Cosmic Peekaboo is lovingly dedicated.

Chris Dedrick Vocals, Soprano Recorder, Keyboards, Recorder, Piano, Flugelhorn, Percussion, Trumpet, Native American Drum, Rhythm Guitar, Arranger, Producer
Bruce Dedrick Vocals
Sandy Dedrick Vocals
Rebecca Pellett Vocals, Keyboards
Tom Szczesniak Piano, Bass
Stefan Szczesniak Drums
Christian Szczesniak Guitar, Acoustic Guitar
John Johnson Soprano Sax
Brian Barlow Percussion, Cocktail Drums
Mike Francis Guitar
David Swan Piano
Marie Bérard Violin
Griffin Dedrick Guitar
Douglas Perry Viola
Brian Epperson Cello
1 Peekaboo 2:52
2 Younger Son 2:50
3 McCarran Airport 3:16
4 Destiny 3:17
5 Springtime 3:59
6 Listen 3:31
7 The Hook 3:30
8 Music Room 2:17
9 The Only Treasure 3:43
10 Day Breaks 5:24
11 Perfect Love 4:39

What happens when a group reunites and records again after 30 years ? Most of the time the voices are croaking or blank, the songs "modernized" with the help of a famous rapper or some DJ remix ... And you feel sorry for them, despite all the affection you still have.
This is not the case here. The Free Design perform their usual Sunshine Pop, with lovely vocal harmonies and modern Chamber Music arrangements.
This might be too cute for most of you, but it do some good after a hard day and before a good night. If you enjoy the recent Brain Wilson, try this, it is much better ...

The first new album from The Free Design for nearly 30 years!
Rip from CD 256@ (artwork included 150 dpi)
Download link
http://lix.in/ddac3b

Lossless
(Format: FLAC - Lossless with CueWav and Log /39:23 min /3 files 294 MB /Complete Scans - 300 dpi)
Download link
http://lix.in/f1d676
PW: woolandwater

CAROLINE NOW!: The Songs of Brian Wilson and the Beach Boys – 2000 (v/a)

Some three years in the making, Caroline Now! The Songs of Brian Wilson and the Beach Boys is more than just a much deserved tribute to arguably the greatest of all American pop bands; it's also a lovely and engaging introduction to some of the finest talent the contemporary pop world has to offer, highlighted by such newsworthy developments as the reemergence of ex-Vaselines frontman Eugene Kelly (the Spector-esque opener "Lady"), the solo debut of Belle and Sebastian's Stevie Jackson (the wistful "Good Time"), and, most remarkably, the first new Free Design recording in some three decades (the rapturous "Endless Harmony"). Wisely, the set focuses on the Beach Boys' more obscure material (much of it dating from the 1970s), a decision that allows the performers far more latitude in imprinting their personal stamps on the songs; at the same time, with so many of the acts featured on Caroline Now! making their admiration for Brian Wilson's work thoroughly evident in their own records, there's nothing too radical either; the High Llamas' "Anna Lee, the Healer," for example, sounds exactly like you'd expect it would. Still, by and large, the disc boasts an artistry and consistency most tributes lack, thanks as much to the brilliance of its subject as to the torch-carrying affections of its contributors; with Mike Love beating a dead horse leading an ad-hoc Beach Boys lineup on the state fair circuit and with Wilson himself touring in what often seems like a musical adaptation of Flowers for Algernon, god only knows it's reassuring that at least someone's keeping their musical spirit truly alive.

1 Lady - Eugene Kelly 3:33
2 I Wanna Pick You Up - Alex Chilton 2:56
3 All I Wanna Do - June & the Exit Wounds 3:13
4 Wind Chimes Katrina Mitchell ... 2:27 Performed by: Katrina Mitchell, Bill Wells
5 Anna Lee, the Healer - High Llamas 3:28
6 Ne Dis Pas (Girl Don't Tell Me) [French Version] - Souvenir 2:34
7 Lines Stewart, Duglas T. 3:20
8 Busy Doin' Nothin' - Camping 3:54
9 Good Time - Stevie Jackson 3:48
10 Endless Harmony - Free Design 3:18
11 Go Away Boy - Pearlfishers 3:28
12 Stevie - Saint Etienne 3:05
13 Honkin' Down the Highway - Radio Sweethearts 3:15
14 Lonely Sea - Eric Matthews 3:51
15 Rainbow Eyes - Kle 4:00
16 Let's Put Our Hearts Together - Chip Taylor, Evie Sands 2:21
17 Pet Sounds - Peter Thomas 3:30
18 Heroes and Villains - Malcolm Ross 4:08
19 Only With You - Norman Blake 2:46
20 Caroline, No - Aluminum Group 3:42
21 Do Ya - Jad Fair 2:30
22 Big Sur - Secret Goldfish 2:56
23 Good Timin' Ritchie, - David Coalition 2:55
24 Almost Summer - Kim Fowley 2:56




Best cuts: "Lady" by Eugene Kelly, "Ne Dis Pas" by Souvenir, "Busy Doin' Nothin'" by Camping, "Lonely Sea" by Eric Matthews, and "Pet Sounds" by Peter Thomas Sound Orchestra,
"Anna Lee" by High Llamas, "Endless Harmony" by The Free Design, "Honkin' Down the Highway" by the Radio Sweethearts, "Heroes and Villains" by Malcolm Ross and “Stevie” by Saint Etienne

A compilation album of Beach Boys cover versions with one entirely new track by the Free Design!
Rip from CD 256@ (artwork included 150 dpi)
Download links
http://lix.in/d845af
http://lix.in/44523b

(Format: FLAC - Lossless with CueWav and Log /78:07 min /6 files 563 MB /Complete Scans - 300 dpi)
Download link
http://lix.in/842f9d
PW: woolandwater

CELESTIAL SEASON – ORANGE – 1997 (DUTCH) heavy psych/stoner rock

Both, «Forever Scarlet Passion» and «Solar Lovers» were the sort of albums I enjoyed very much, therefore the fact that I was itching to hear new creations from CELESTIAL SEASON is quite natural, I believe... And now I’ve got it. Well, what can I say? «Orange» has nothing to do with this band’s previous direction - no more violins, no more growls, no more romanticism... CATHEDRAL and... surprisingly METALLICA (!) strike as the new musical inspirations of these Dutch guys (by the way, there’s only Jason left of the original lineup). With the new singer (who also does all the drumming work) Cyril (whose voice almost can’t be distinguished from Hetfield’s) and guitar sound, heavily reminding me of «Hopkins - The Witchfinder General» and second DOMINUS CD, CELESTIAL SEASON look like reincarnation of ‘70s bands... Delirious song-titles like «Salamandra», «One-Eye Generator», «Diabolo Cruiser XL» or «Diesel Reptile» only crown the whole picture. «What a crap!» - that’s what I thought after giving a listen to first four songs... But after fifth, sixth, seventh... my opinion of «Orange» became much better and when the fourteenth track (also the last one) was over I cried out «GREAT!» Together with IN THE WOODS’ «Omnio», «Orange» belongs to the kind of albums, which appeal to you only after second or third listen. You won’t get into it earlier. Yes, CELESTIAL SEASON changed their music drastically, but... attentive persons could notice this tendency already on «Solar Lovers». Simply recall «Holy Snake»... Got me? Ok, it’s not a stuff for everyone, but «Orange» is still very good CD.

Cyril Crutz - vocals
Pim van Zanen - guitars
Olly Smit – guitar/bass
Jason Kohnen - drums/bass
1 Wallaroo 3:29
2 Too Much Too Soon 1:47
3 Black Queen Is Dynamite 3:14
4 The Orleans Capsule 4:22
5 Carmencita 1:19
6 Salamandra 3:56
7 One-Eye Generator 3:20
8 Warp Speed to Vulcan 4:40
9 Diabolo Cruiser XL5 5:27
10 1000 Things 3:23
11 Daisy's Lunch 3:05
12 Dive 2:18
13 Risin' Out of the Loop 6:40
14 Diesel Reptile 4:42

HIGHLY RECOMMENDED!!!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/319462/

CELESTIAL SEASON – CHROME – 1999 (DUTCH) heavy psych/stoner rock

Cyril Crutz - vocals
Pim van Zanen - guitars
Olly Smit - guitar/bass
Jacques de Haard - bass
Rob Snijders – drums
1 Jupiter
2 Coming Down
3 Stardust
4 Monumenta
5 Retrosky
6 Trancewagon
7 Who Sent the Workers Back Underground
8 Desire
9 Alooka's Boulevard
10 Millenarian Drive

A hit and miss effort form CS. Too many Kyuss moments but also some equal to best of catalogue material.

HIGHLY RECOMMENDED!!!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/319461/

CELESTIAL SEASON – LUNCHBOX DIALOGUES/SONGS FROM THE SECOND FLOOR e.p. – 2001 (DUTCH) heavy psych/stoner rock

Celestial Season spent most of their existence sounding like they were heavily influenced by someone else. On the band's first two albums, Forever Scarlet Passion and Solar Lovers, their undeniable affinity for My Dying Bride was evident clear down to the usage of violins over the massively heavy and pondersome riffs. However, after Solar Lovers, Celestial Season turned a sharp corner and began pursuing the desert rock sounds of Kyuss. They ditched the gutteral death metal vocals for a vocalist whose voice wasn't terribly dissimilar from one John Garcia. Admittedly, the band's sound on Orange wasn't perfectly developed, but by Lunchbox Dialogues, Celestial Season had mastered the art of this heavy stoner rock thing.
If nothing else, Lunchbox Dialogues ascends from the somewhat clumsy feeling of Orange. Rather, Lunchbox Dialogues is filled with extremely tight songwriting, excellent arrangements and memorable riffs. The band's years as a doom metal band pay off in being able to effortlessly put forth a feeling of honest heaviness while still maintaining the groove element necessary to make this sort of thing work out. The songs are multi-faceted with a good sense of movement throughout. Unlike many bands, you don't feel as though you've heard everything the band has to offer within the first two minutes of the first song.

Celestial Season wrapped things up not long after this album, releasing a final EP before calling it a day. If nothing else, Lunchbox Dialogues represents a final pinnacle for a band who spent a lot of time toiling away without recognition. Despite the obvious influence of the Kyuss league of bands, Celestial Season stakes out their claim as a strong contender in the field.

Cyril Crutz - vocals
Pim van Zanen - guitars
Olly Smit - guitar/bass
Jacques de Haard - bass
Rob Snijders - drums
Lonely Man Burning
Sharks and Razors
Outshine
Boarding Music
Mary Meets the Sky
Body Overdrive
The Celestial Dragon
All Wrong
Comfortable Mess
From the Plains

Room 210
Morning Theft
Watching the fuss
Saturday (wanna go for a ride?)

HIGHLY RECOMMENDED!!!
Rip from CD and vinyl 256@ (full artwork included)

пятница, 21 декабря 2007 г.

TIBET – TIBET – 1978 (GER) heavy progressive

TIBET is another forgotten band from 70s and discovered only now. It's a unique blend of URIAH HEEP and CAMEL, if you can imagine one, but it's never a clone. Played with Germanic drive, it may remind one of ELOY ot NOVALIS. Another honorable influences may include GENESIS ad TAI PHONG. With highlights like "Seaside Evening" (what a ballad!) this album is a real Forgotten Gem from 70s

Kalus Werthmann - lead vocals
Deff Ballin - keyboards, percussion
Dieter Kumpakischkis - keyboards
Karl Heinz Hamann - bass, percussion
Fred Teske - drums
Jurgen Grutzsch - guitars, percussion
1 Flight Back 4:59
2 City by the Sea 4:24
3 White Ships and Icebergs 6:15
4 Seaside Evening 4:13
5 Take What's Yours 7:23
6 Eagles 6:05
7 No More Time 5:30

What a nice suprise and the kind of prog rock I like the most: typical 70´s symphonic with lush keyboards with special mention to the beloved Hammond and Mellotron, and quite good synth as well!! A really excellent addition to any prog music collection!!

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/314181/

IAN GILLAN BAND – CLEAR AIR TURBULENCE – 1977 (UK) hard rock

When Ian Gillan was recording his solo albums in the late 1970s and early '80s, Deep Purple's influence never went away. But Gillan did make an effort to try different things, and he was at his most experimental on Clear Air Turbulence. Enjoyable, if uneven, this album illustrates Gillan's willingness to take some chances. While the singer favors an aggressive hard rock groove on "Money Lender," the jazz fusion-influenced touches of "Over the Hill," "Goodhand Liza" and the title song could lead you to believe that you'd been listening to Weather Report and Return to Forever. Had Chick Corea formed an alliance with Deep Purple, perhaps it might sound something like "Over the Hill." Heavy metal and hard rock are in short supply on this album, which employs no less than five horn players and shows that Gillan didn't want to be a headbanger 100-percent of the time.

Ian Gillan - Harmonica, Vocals
Ray Fenwick - Guitar, Vocals
Colin Towns - Keyboards
Martin Frith - Saxophone
Malcolm Griffiths - Trombone
Derek Healey - Trumpet
John Huckridge - Trumpet
Phil Kenzie - Saxophone
John Gustafson - Bass, Vocals
Mark Nauseef - Percussion, Drums
1 Clear Air Turbulence
2 Five Moons
3 Money Lender
4 Over the Hill
5 Goodhand Liza
6 Angel Manchenio

Probably the best album Ian Gillan has ever participated in. Funky, jazzy, progressive hard rock. Excellent band. Keyboardist Colin Towns is especially great.

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/314182/

IAN GILLAN BAND – SCARABUS – 1977 (UK) hard rock

The third and final studio release from the Ian Gillan Band found the band attempting to widen their audience, by returning to a more basic style of hard rock. The songs aren't heavy metal by any means, but are more stripped down than on their previous two albums. There are several heavier numbers, with a decided Purple-ish feel, that are very well done. The title track is one, a riff driven number with fantasy lyrics that are very untypical of Gillan's usual style. "Pre-Release" is another riff driven song, which wouldn't have been out of place on a Purple album. "Mad Elaine" is a driving rock song, with excellent keyboard and guitar solos. The last of the really heavy songs is the albums closer, "Fools Mate". Almost a metal-jazz song, the two styles are welded together nearly perfectly. The only down side is Gillan's insistence on screaming the entire chorus. Not a pleasant experience. The non-heavy songs are also great. The two best are "Slags To Bitches" and "Apathy". The former is a lyrical follow-up to "Anyone's Daughter" on Purple's Fireball album, with great piano work by Colin Towns. The latter is a slow groove, with outstanding ensemble playing by the entire band.
1 Scarabus 4:53
2 Twin Exhausted 4:08
3 Poor Boy Hero 3:08
4 Mercury High 3:31
5 Pre-Release 4:22
6 Slags to Bitches 5:09
7 Apathy 4:19
8 Mad Elaine 4:15
9 Country Lights 3:16
10 Fool's Mate 4:19

Well this is at least a particial return to hard rock, not a million miles from what Purple where doing with Bollin on Come Taste The Band. The real treat is the title track, which is more than a little similar to Sabbath's "Disturbing The Priest" on Born Again. The album pretty much goes down hill from there (and that's the first song). Still if you don't pay to much attention it's kind of a fun listen.

Highly recommended!
Rip from CD 256@ (full artwork included)
Download link
http://link-protector.com/314183/

четверг, 20 декабря 2007 г.

re-up: BUFFALO - VOLCANIC ROCK - 1973 (AUS) heavy psych/hard rock

In a genre hardly recognized for its finesse, Buffalo's second album, 1973's aptly titled Volcanic Rock, was about as raw as heavy metal got in the early 1970s (and its cover art's barely concealed eroticism sparked a controversy all its own, but that's another story). Of course, as those well versed in matters of hard rock and metal well know, all of its crudity was absolutely intentional. This seeming contradiction is both epitomized and explained by the Sydney, Australia combo's signature single, "Sunrise (Come My Way)", which boasted unquestionable melodic sensibility and expertly dangled hooks beneath the coarse leather surface of guitarist's John Baxter's earth-rumbling fuzz-distortion, and singer David Tice's simultaneously warm, soulful, and, when needed, borderline ragged voice. Next track, "Freedom," pays peremptory lip service to the ‘think big' mentality of then ultra-popular progressive rock (and the band's prog-loving label, Vertigo), but never succumbs to the genre's arrogant self-indulgence. Rather, much as they do on the mostly improvised studio jams "Till My Death" and "The Prophet," the rhythm section of bassist Pete Wells (later of Rose Tattoo) and drummer Jimmy Economu plants their hooves into honest, proletarian blues-rock mud and stay put. Actually, the mid-album vibe almost gets too basic and laid back, come the unremarkable "Pound of Flesh," but any serious concerns are quickly crushed under the stampeding, LP-closing eruption of "Shylock," which introduces Shakespeare to Black Sabbath by way of Budgie and Steppenwolf) and brings Volcanic Rock's most distinctive and powerful qualities full circle for an explosive finale. And, as had originally been instructed on their debut album before being reiterated here, Buffalo's peculiar brand of Volcanic Rock achieved best results when ‘played even louder.

Dave Tice (vocals)
John Baxter (guitar)
Pete Wells (bass)
Jimmy Economou (drums)
1 Sunrise (Come My Way) 4:48
2 Freedom 9:02
3 Till My Death 5:38
4 The Prophet 7:24
5 i. Intro: Pound of Flesh 4:33
ii. Shylock 5:52
Bonus Tracks - Head Single, 1971
6 Hobo (A-Side) 2:46
7 Sad Song, Then (B-Side) 2:37
Bonus Tracks - Non Album Singles, 1972
8 Just A Little Rock And Roll (A Shot of Rhythm and Blues) (A-Side) 2:24
9 No Particular Place To Go (B-Side) 4:53
10 Barbershop Rock (B-Side) 3:24

Take a dusty sounding Cream, Zeppelin, Mountain, AUS buddies like Lobby Loyd and Thorpies jamming hardrock style. Include that big reverb sound of Randy Holden that Sabbath use on their debut and throw in a few Free covers and Ticey Ballsy vocals n ya have a Classic underground album!Only ignorant idiots called "stoner rockers " compare this to Sabbath. It's far more AUS hardrock of Lobby Loyd and Thorpie and the mentioned bands than Sabbath.Go n listen to those AUS Hardrock legends and than come n say this is Sabbath.Ignorance is no excuse.

HIGHLY RECOMMENDED!!!
Rip from CDR 256@ (full artwork included)
Download link
http://lix.in/c38a67