domingo, 26 de fevereiro de 2017

Audience - Audience (1969 uk, splendid psychedelic/progressive rock - Japan reissue) Flac

Studio Album, released in 1969
Audience's fifteen minutes of fame came when they released their masterpiece album, "House on the hill" on Charisma Records. They had however been around for some time before that, and this eponymous album, originally released by Polydor records, goes back to where it all started.

Deciding to adopt the name Audience, rather than persist with the laborious Lloyd Alexander Blues Band from whom they emerged, the band recorded this album in early 1969. "Audience" is a typical album by a band desperately trying to find their direction. That is not to say there is nothing of value here, there most certainly is. The unique voice of Howard Werth is not fully exploited, but songs such as the opening "Banquet" would have sounded OK on "House on the hill".

Thereafter we have the anonymous soft pop of "Poet", the upbeat folk blues of "Waverley stage coach" and the Stackridge (whom Keith Gemmell would later join) like folk parody of "River boat queen". The last of those is the most interesting, the arrangement having definite prog nuances.

"Heaven was an island" supposedly contains incisive political lyrics by Trevor Williams, but the slurred, semi-shouted vocal delivery of Werth makes them all but indecipherable. The track actually sounds rather Family like, with some jazzy improvised sax as the instrumental break. There are other early hints of the jazz rock which would come to the fore on later albums, especially through the wind instruments of Keith Gemmell.

"Maidens cry" reportedly inspired part of Led Zeppelin's "Stairway to heaven", Audience having supported the Zepsters in 1969. The song is a fine, moody piece with notable harmonies and confident sax. The final track on the original album is an early version of "House on the hill", a song the band would substantially rework when recording their third album ("House on the Hill"). The version here is totally recognisable though, and one of the highlights of the set.

The recent and somewhat overdue CD release of the album (called "Audience, the first album") has a few additional tracks from the period. "Paper round" is a lightweight Traffic pop like number which features a nice change of pace midway. "Troubles" was the first song written by Werth, when he was 15 years old. Only the backing track was recorded around the time of this album, so Werth recorded the vocals for it in the mid 1990's for this re-release.

 "The going song" is a track from the incidental music recorded by the band for a film called "Bronco bullfrog", the music never having been previously released.
Incidentally, the version of "Too late, I'm gone" included here is not that which appeared on the original album, but one which features Mike D'Abo on piano. The inclusion of this version was at the behest of Howard Werth, who assures us that the differences are otherwise minimal.

In all, a mainly pop orientated debut, but one which contains regular and transparent indications of what would follow. The quality of the songs, the performances, and the arrangements all combine to confirm that this is an ambitious band with the talent to turn those ambitions into success.
Line-up / Musicians

- Howard Werth / guitar (acoustic), banjo, guitar, vocals
- Tony Connor / percussion, piano, drums
- Keith Gemmell / saxophone, wind, woodwind
- Trevor Williams / bass, guitar (bass), keyboards, vocals

domingo, 19 de fevereiro de 2017

UFO - UFO 1 (1970 uk, superb hard/psychedelic blues-rock - 2015 Repertoire vinyl 180g reissue) Flac 24-bit

A1. Unidentified Flying Object (Pete Way, Phil Mogg, Andy Parker, Mick Bolton) – 2:19
A2. Boogie (Way, Mogg, Parker, Bolton) – 4:16
A3. C'mon Everybody (Eddie Cochran, Jerry Capehart) – 3:12
A4. Shake It About (Way, Mogg, Parker, Bolton) – 3:47
A5. (Come Away) Melinda (Fred Hellerman, Fran Minkoff) – 5:04
B1. Timothy (Way, Mogg, Parker, Bolton) – 3:28
B2. Follow You Home (Way) – 2:13
B3. Treacle People (Bolton) – 3:23
B4. Who Do You Love? (Ellas McDaniel) – 7:49
B5. Evil (Way) – 3:27

*Phil Mogg - Vocals
*Mick Bolton - Guitar
*Pete Way - Bass
*Andy Parker - Drums 

sábado, 11 de fevereiro de 2017

Mike Hart – Mike Hart Bleeds (1969 uk, superb psychedelic/folk blues-rock, japanese reissue) Flac

Hart led the respected Liverpool R&B group, the Roadrunners, before enjoying spells in less-stellar units, the Richmond Group and Henry’s Handful prior to joining the Liverpool Scene, which he abandoned in 1970. The group had been championed by influential disc jockey John Peel, who then signed this excellent singer/guitarist to his fledgling Dandelion label.

Mike Hart Bleeds took full advantage of the company’s avowed policy of artistic freedom, and the performer’s sense of irony and urgency resulted in a compulsive set. He performed with his band Business, at this time. Basher, Chalky, Pongo And Me, invoked the mock-heroism of boys’ comics and showed Hart’s customary incisiveness. Sadly, neither album was a commercial success and the artist later rejoined the Liverpool Scene for a 1974 reunion.
01. Yawny Morning Song (Mike Hart) 2:45 
02. Shelter Song (Mike Hart) 3:41 
03. The Ring Song (Mike Hart) 4:45 
04. Please Bring Back the Birch for the Milkman (Mike Hart) 2:08 
05. Arty's Wife (Mike Hart) 4:39 
06. Disbelief Blues (Mike Hart) 4:53 
07. Aberfan (Mike Hart) 2:17 
08. Dance Mr. Morning Man (Mike Hart) 5:41 
09. Almost Liverpool 8 (Mike Hart) 4:45 

sábado, 4 de fevereiro de 2017

The Outcasts - I'm In Pittsburgh And It's Raining! (1966-67 us, awesome psychedelic/garage rock) Flac

Garage Rock Band from San Antonio, TX, USA, one of the best groups to emerge from the 60's Texas Garage Band scene were The Outcasts.

This prolific group released a number of singles on the Askell label of San Angelo 1966-67. This compilation collects all their singles plus many unreleased songs.

As an added bonus tracks previously released in 1984 have been newly remixed from the original masters. Furthermore, the groups later recordings in Houston have been unearthed and are released for the first time.

sábado, 28 de janeiro de 2017

Ton Steine Scherben - Warum Geht Es Mir So Dreckig ? (1971 german, fantastic kraut/proto-punk rock) Flac

Mentors of the cliché 'agit-rock', Ton Steine Scherben (Sound Of Stones Breaking Glass) took their roots from American 1960's punk like the Velvet Underground and The Stooges, added a touch of heavy blues and a strong dose of German angst. Presenting their raw aggressive rock frequently at free festivals in the late-1960's, none of the German labels would touch them. 

Warum geht es mir so dreckig? (Why am I so miserable?) is the first album released by the German rock band Ton Steine Scherben. It includes—among other pieces—the song Macht kaputt, was euch kaputt macht ("Destroy what is destroying you"), which expressed the built-up anger and radicalization of the youth of the late 1960s and early 1970s.

In 1971, after the release of the first single "Macht kaputt, was euch kaputt macht", the band went to Klaus Freudigmann's studio in Berlin to record their first album. The setup for the recordings was not ideal, and the sound quality suffered as a result. This is not surprising, as all the band's output was self-produced. As such, the recording sessions were also not entirely satisfactory. 

In June,Agit 883 and Rote Hilfe—anarchist and leftist political organisations respectively—organised an "informational event" about the empty buildings on the Mariannenplatz in Kreuzberg. Ton Steine Scherben were invited to play, and the teach-in turned into a party which led to one of the first spontaneous squatting actions in Berlin. The recordings of the concert were used for the album's first side; the b-side consists of highlights of the studio recordings. 

The album's sound has been described as raw and energetic, but the sound quality is somewhat lacking. The fifth track, "Das Einheitsfrontlied" is not listed on the back of the album or in the booklet.

sábado, 21 de janeiro de 2017

The Remains - The Remains (1966 us, great psychedelic/garage rock - reissue with 10 bonus) Flac

American garage rock band, sometimes credited as Barry & The Remains. 

The Remains formed in 1964 at Boston University, where all four members were first-year students living in the same dorm in Kenmore Square. Singer-guitarist Barry Tashian and keyboardist Bill Briggs were from Westport, Connecticut, drummer Chip Damiani from Wolcott, Connecticut, and bassist Vern Miller from Livingston, New Jersey. They began playing r&b and rock'n'roll covers, as well as some Tashian originals, at The Rathskeller, a tavern across the square from their dorm. Soon, fans were lining up from Kenmore Square to Fenway Park to see them, and management had to clear out a disused basement to accommodate the crowds 

The band became a popular live act throughout New England, and, after signing with Epic Records, enjoyed local hits with a catchy, swinging Tashian original, "Why Do I Cry", and their hard-driving version of the Bo Diddley/Willie Dixon classic "Diddy Wah Diddy". In 1965 the Remains relocated to New York City - where they appeared on 'The Ed Sullivan Show' - and then, after about a year, moved on to California. They recorded an album, The Remains, appeared on NBC TV's 'Hullabaloo', and released the soulful, hard-rocking single "Don't Look Back".

In 1966 came the opportunity which might have broken the band nationally, but proved instead to be their last hurrah: they were offered a three-week stint as an opening act for the Beatles, on what would turn out to be the fab four's final tour. Immediately before the tour, drummer Chip Damiani quit the band, to be replaced by future Mountain drummer N.D. Smart. Said Tashian in a 2012 interview: "We had always been the four of us and we’d played hundreds and hundreds of gigs as the four of us and all of a sudden this big tour comes up and boom! We have to play it with a new drummer who didn’t have the same feel that Chip had. I mean he was a fine drummer but it wasn’t the same band. I just felt like the flame was burning down without our original drummer."

Originally released 1965 (tracks 12-15), 1966 (tracks 1-10), 1991 (tracks 11, 16-20).

quarta-feira, 18 de janeiro de 2017

Fenner, Leland & O'Brien - Somewhere, Someday, Somehow (1969 us, brilliant psychedelic/folk rock - vinyl rip) AIFF lossless

Thanks to original uploader: Anatoly Kurnikov
 Unknown LP's from 1969 (50 and 250 original LP copies, respectively): Peace In Our Time + Somewhere, Someday, Somehow. These were originally issued on the RPC Vanity label. Stunning LP's filled with that broken dreamer vibe, where youthful idealism and naivete met the cold facts of Vietnam and the government's 'true intentions'. 

The resulting sound is somewhat akin to some of Bryan MacLean's work with LOVE and Crosby's Wooden Ships, yet this music is all their own. Some excellent fuzz on a couple tracks, and hailed by all who have heard it. Original copies sell for seriously lofty amounts!

A1. Childre
A2. Uncle America
A3. Dirge
A4. You Can't Deceive The Rain
A5. High And Dry
A6. Double Image
A7. Come Hell Or High Water
B1. Song Of Love Overture
B2. Hey Mister
B3. I Cry Alone
B4. Death Of Maple Avenue
B5. Where's My Life Going
B6. Virgin
B7. And To All
B8. Epoch






sábado, 14 de janeiro de 2017

Wild Turkey - Battle Hymn (1971 uk, fantastic hard/progressive rock, 2004 reissue, 02 bonus) Flac

Reportedly fired by Ian Anderson from Jethro Tull for his hard partying life style, multi-instrumentalist Glenn Cornick wasted little time forming Wild Turkey.  The original line-up featured lead guitarist Alan Lewis, former Eyes of Blue lead singer Gary Pickford-Hopkins, ex-Pete Brown & Piblokto drummer John Weathers, and rhythm guitarist Graham Williams.   Unfortunately before the band recorded any material Weathers and Williams left to join Graham Bond's Magick.  Williams then moving on to join Gentle Giant.   They were quickly replaced by singer/guitarist Jon Blackmore and former Man drummer Jeff Jones.

Recorded at Paris' Olympic Studios with Roger Bain producing, 1971's "Battle Hymn" was seemingly a concept piece with an anti-war plotline running through the set.   If it was, I'll readily admit the plotline was lost on my ears, though the packaging and song titles all seem to support the anti-war contention.  

Musically it wasn't the most original set I've ever heard.   Tracks like 'To the Stars' and the title track seemed to sport a pseudo-Jethro Tull kind of sound.  If you were a Tull fan, you were probably okay with it.  If you weren't ...   Elsewhere 'Dulwich Fox' and 'Sanctuary' reflected an English folk-rock vibe.  Imagine Fairport Convention if they'd decided to go for a heavier rock sound.  It was one of those album's that didn't make a big initial impact on me, but which has gotten better and better the more I listen to it.  Interestingly the band were reportedly less than thrilled with producer Bain's work.  

Hardly a massive seller, but touring the States as an opening act for Black Sabbath and then Yes, the album  managed to chart in the States, peaking at # 193.

domingo, 8 de janeiro de 2017

Bodast (featuring Steve Howe) - Spectral Nether Street [uk 1968-69, superb power/psychedelic/prog rock] Flac

Steve Howe's recording career began as early as 1964 under the production of Joe Meek when he was the lead guitarist of the savage R&B outfit The Syndicats. He then joined The In Crowd, who soon became Tomorrow, legendary pioneers of UK psychedelia who along with Pink Floyd and Soft Machine changed the face of pop music forever.

When Tomorrow's singer Keith West's first solo single became a huge success (it was a part of the "lost" Teenage Opera project by Mark Wirtz) all band members went their separate ways. Drummer Twink joined The Pretty Things and then formed The Pink Fairies, bassist Junior Wood -along with Twink- tried luck in Aquarian Age and Steve Howe accompanied West on tour before finally giving birth to Bodast in 1968.

Bodast was formed by Steve Howe (Guitar), Dave Curtiss (bass, vocals) and Bobby Clark (drums). The name was creatied by taking the first two letters of their names (BObby, DAve, STeve). Curtiss and Clark where veterans of the early UK scene, having been members of Screaming Lord Sutch's Savages or Vince Taylor's Playboys, and they had also worked in France backing Françoise Hardy.They were soon joined by Clive Skinner (vocals) and Bruce Thomas (bass), and also acted for a while as Canto.

While back in the era no recordings of Bodast saw the light of day, the fact is that they did record a whole LP under the production of Keith West. Ten incredible songs that are the missing link between Tomorrow and Yes, a stunning progressive opus which still has it's share of psychedelia, and which should have been a classic since day one but, sadly, the album was filed and left unreleased, and Bodast finally disbanded. Howe got some offers to join other established groups. He took the one from Yes, with whom he soon entered the studio to record The Yes Album, to which he added parts of the lost Bodast compositions (the most evident being Nether Street, an important part of it ended up in Starship Troopers). And the rest, as they say, is history.

The Bodast LP finally saw the light of day in 1981, when Cherry Red issued 8 of the recorded songs as The Bodast Tapes. The original tapes had been newly remixed by Steve Howe himself. It was, again, issued in the 1990s by C5, same remix, with the addition of two extra tracks. That version was also available on CD. In 2000 RPM released a new CD version, this time rescuing the original 1968 mixes, and with the addition of four tracks by Canto (essentially the same band, who changed the name for a while).

Much of this material has been around before in other packages, but this is the most comprehensive roundup of Bodast- and Bodast-related tracks likely to be done. Ten of the 16 songs comprise all of the masters recorded by Bodast for MGM in 1969. These have been previously reissued by Cherry Red and See for Miles, but the versions on these CDs are the original mixes by Keith West, whereas on other releases the mixes were done by Steve Howe in 1981. 

 In addition, there are four previously unreleased 1968 songs by Canto, who were comprised of the trio of Steve Howe, Bobby Clarke, and Dave Curtiss, and evolved into Bodast around the time Clive Maldoon rejoined. And, finally, there are previously unreleased alternate takes of the Bodast cuts "Beyond Winter" and "Do You Remember." 

The music is a link between British flower-power psychedelia and progressive rock, full of intricate song structures and harmonies, yet also lacking the arresting melodies and direction of Howe's previous and subsequent bands (Tomorrow and early Yes), though it's closer to Tomorrow than Yes. It's more historically interesting than musically significant, but its historical value is considerably enhanced by Jon Newey's lengthy liner notes. The highlights remain the occasional times at which they recall early David Bowie, particularly "1,000 Years."

1. Power of Music
2. The Spanish Song
3. Come Over Stranger
4. Nether Street(demo instrumental)
5. Nether Street
6. Mr Jones
7. Tired Towers
8. Do You Remember
9. Beyond Winter
10. Once in a Lifetime
11. Black Leather Gloves
12. I Want You
13. 1000 Years
14. Nothing to Cry For
15. Beyond Winter(alternate take & mix)
16. Do You Remember(alternate take & mix).

terça-feira, 3 de janeiro de 2017

Cromwell - At The Gallop (1975 irish, superb hard/blues rock - vinyl rip) AIFF lossless

Thanks to original uploader: "Anatoly Kurnikov"

Initially self-released in 1975 by the Drumcondra, Dublin-based Cromwell, At The Gallop is a blistering, heavy, loud’n’lascivious ten track offering (thirteen in this expanded edition) of proto-metal infused street rock’n’roll from a time when Ireland was still under the sway of conservative showbands, quasi-religious, sentimental pop pap and traditional Irish music. 

Despite their cultural struggles, Cromwell crafted a creative and compact catalog—five fuzzed’n’ferocious 45s and this footlong—led by co-vocalist/bassist Michael Kiely’s come hither coo and fey Jagger pose’n’preen, the in-the-pocket drumming of Derek Dawson and minor-guitar hero moves of Patrick Brady, exercising taste, talent and towering mountains of fuzz’n’fury as comfortably as greasy ‘70s raunch and rural modes. 

 At The Gallop is a rare—fetching upwards of 400€ when the original LP does appear—little heard classic in the pub/ fried rock’n’roll /proto-punk terrain.

A1. Ireland (The Wild One)
A2. Down On The Town
A3. First Day
A4. You Got It Made
A5. At The Gallop
B1. Guinness Rock
B2. Hoodwinked (instrumental)
B3. Nothing Left To See
B4. Deal Me In
B5. Dawson's Fun Palace