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

sexta-feira, 30 de dezembro de 2016

Junco Partners - Junco Partners (1970 uk, fantastic hard/progressive blues-rock) Flac

The group was formed in 1964 in Newcastle (Tyne And Wear, UK), composed of Charles Harcourt, David Sproat, John Wood, John Anderson, Ronnie Barker, Peter Wallis. The test time (until
release their first album in 1970) it survived only the first three of which in 1966 joined Robert Sargeant (replacing Peter Wallis). 

The team came from the same rock scene as The Animals. He had a crowd of devoted local fans. In the period of 1966-1967 was a regular at The Victoria Whitley Bay. He played in the most popular clubs and ballrooms north-east of England: The El Cubana in Sunderland, Blue Note Clubs in Sunderland, The Mayfair Ballroom in Newcastle, The Majestic Ballroom in Newcastle, Downbeat Club in Newcastle, Quay Club in Newcastle, Club Astec in Sunderland , Kirklevington Country Club, Redcar Jazz Club.

Musicians would also be in the famous Star Club in Hamburg but due to his young age did not receive a work permit. They had the possibility of joint appearances with many famous artists, including The Who, Rod Stewart, Jethro Tull, John Mayall, Jimi Hendrix and others.
In October 1969 by three weeks the group was on tour accompanying Howlin 'Wolf during his tour. They starring, among others, Southampton University, Cardiff University, Aberdeen Music Hall, The London Marquee Club, The Bull in Richmond, University of Lancaster (in the concert was also Albert King).

 Their first recording was a single in 1965, "As Long As I Have You" / "Take This Hammer" (Columbia EMI, DB No. 7665). Their first and only album - "Junco Partners" (Philips, 6308 No. 032, 1970, UK) was recorded within 6 weeks in different studios in London (most in the famous De Lane Lea Studios) for Barclay Records.

 Apart from England he appeared also in Germany, Canada, France. Practically right after the recording of the group left one of the founders Charles Harcourt. It was almost the end of the band. Group for a short time functioned as a trio. It is worth mentioning that seven years later the band reformed performing
 in 1977 at the Festival in Newcastle.
01 - Minotaur
02 - Fly Me High
03 - Change In Louise
04 - Black Widow
05 - Help Me
06 - Natural Thoughts
07 - Am I Blue
08 - Reprieve
09 - In The Morning
10 - Death By Fire

sexta-feira, 23 de dezembro de 2016

Jeff Liberman - Solitude Within (1975 us, fantastic acid/progressive & psychedelic heavy-rock - vinyl rip) Flac

Chicago born Jeff Liberman is a guitar player in the best tradition of 70s guitar Gods like Hendrix, Trower, Clapton or Zappa. The perfect mix between virtuosity and feeling with a gift for brilliant songwriting. 

Between 1975 and 1978, Liberman self-released three albums on his own Librah label which were some of the first private pressings to gain recognition amongst psych collectors in the 80s. 

“Solitude Within” is his second album, released in 1975. A heavy guitar psych / West Coast /acid rock classic with plenty of acid soloing drenched in fuzz-wah plus treated vocals, effects, hard-blues and even some cool mellow folk grooves and experimental excursions.

Versatile creation of outsider influence, psych, and highly intelligent guitar wankerings and twangs. If you can perceive a more reclusive Robin Trower who's been drinking mushroom tea, you'll have Liberman's Solitude Within.

A1 I Can't Change 2:30
A2 Springtime 3:00
A3 Rock Or Roll Me 3:00
A4 Life Is Just A Show 8:57
A5 A Myopic Euphoria 3:20
B1 Woman 4:37
B2 Solitude Within 
B3 Soft And Tasty 4:17
B4 The Same Old Blues 4:30
B5 Transition 3:00

sábado, 17 de dezembro de 2016

Butler - Butler (1973 new zealander, fantastic psychedelic/progressive hard rock) Flac

Butler were one of few all-Maori rock bands. All four members were originally from Rotorua, but the band actually formed in Christchurch in 1970. Predominantly an underground group, they played their early gigs at the Open Door, before moving into Trevor Spitz's nightspot Aubrey's.

Having built a strong Christchurch following, the band took stabs at other South Island centres, returning to hometown Rotorua in 1971. From there they began building up a North Island following, proving popular on the University circuit with their combination of originals and Led Zeppelin / Wishbone Ash covers.

Some television exposure followed with a spot on 'Happen Inn', 'Popco' and 'Free Ride'. This was fairly rare for an underground group and even with this they never really gained much pulling power.

In 1973 they recorded a self-titled album for Pye. It was released on the Family label and from it came one single, "Green River"/"Especially For You".

- Steve Apirana (Guitar / Vocals)
- Heidi Warren (Guitar / Vocals)
- Angel Adams (Bass Guitar)
- Hori Sinnott (Drums)

sábado, 10 de dezembro de 2016

Tin House - Tin House (1971 us, fantastic hard/psychedelic blues-rock - reissue with 04 bonus) Flac

"In the twinkling universe of virtuoso electric guitarists that followed in the wake of the genre’s progenitor Jimi Hendrix, perhaps one of the most deserving of renewed recognition is Floyd Radford of the band Tin House, a little known three piece that signed briefly to CBS records in 1970 and released one highly prized album a year later. 

The overdriven, fluid guitar work—heavy on the wah-wah pedal—is brought to the fore by a beefy full production that lifts the band above the sludgy audio presentation that bedevilled many heavy rock albums of the era." 

Tin House were so good—their music was a hard-rocking onslaught of lust, chops and powerhouse riffs that gripped like an alligator bite—they were signed to Epic Records out of high school. 

They were respected by Leslie West and Johnny and Edgar Winter. Their album (released in 1971) was produced by Rick Derringer. But like other almost famous bands, Tin House fell away into unjust obscurity. 

Tin House's focus was on heavy rock like the sex-fueled opener, ‘I Want Your Body,' and standout track ‘Be Good and Be Kind,’ with a catchy up-and-down, down-and-up riff played adeptly by guitar prodigy Floyd Radford, and a driving monster beat laid down by drummer Mike Logan; the song tears in as a fast as a Florida hurricane and sweeps the listener up into its vortex for two-and-a-half minutes of energized bliss. Yet the album also showed diversity: Radford’s melancholy ballad ‘Tomorrow;’ the jivin’ honky tonk of ‘30 Weight Blues’ (a tribute to the band’s 1962 Ford Econoline van); ‘Lady of the Silent Opera,’ which featured orchestration by seasoned studio musicians from New York City’s Local 802 Union to underscore its positive message of “look to the heaven—smile to the blue sky.”

This Lion Productions reissue includes everything Tin House recorded for Epic, including two previously unreleased tracks and the elusive (and unique) single versions of 'I Want Your Body' and 'Be Good and Be Kind'—all taken directly from 24-bit/96kHz master tape transfers. 

Four panel insert has liner notes by Doug Sheppard (Ugly Things) and photos from the archive of drummer Mike Logan. Lean, fluid, tight, and the best hard rock album from the USA you probably never heard of (until now)!

quinta-feira, 8 de dezembro de 2016

The Survival - La Onda De The Survival (1971 mexican, awesome acid/garage/psychedelic blues-rock - vinyl rip) Flac


Master-tape reissue of this super rare Mexican heavy psych album from 1971, filled with wah-wah guitar, ripping fuzz and primitive effects. Rated 5 stars In Hans Pokora's book "3001 Record Collector Dreams".
Bluesy acid psych with a typical Mexican '60's sound, The Survival specialized in acid blues rock  with a sound that ranges from a loose, wigged out psyche blues approach to tighter and faster groove – still informed by electric blues, but tricked out with fuzz and wah wah. A nice mix of raw production and expansive inspiration! 
They formed in the 1960's; because they went through so many lineup changes, they eventually took the group name "Survival"! With Swiss born Luscher Andrés Fontana on drums and vocals; Joaquin Ramos on lead guitar; Luis Ramirez on bass; and Oscar Vazquez on rhythm guitar, Survival released their first and only album in 1971.
It was influenced by West Coast psych rock and the British Blues—sort of a combination of Country Joe and the Fish, Quicksilver Messenger Service and Ten Years After. They sing in heavily accented English, and it's a worthwhile discovery. Includes "Old People", "The World Is A Bomb", "What The World Need Is Union", "Electric Chair", "Canabis Lady", "Useless Warefare" and more. The group soon split, and the only evidence of their existence of this masterpiece of Mexican psychdelia.
A1. Old People 5:45
A2. The World Is A Bomb 2:29
A3. What The World Need Is Union 2:09
A4. Inspiration Blues 3:14
A5. Electric Chair 2:00
B1. Ending Blues 5:58
B2. Disturbance 2:46
B3. Canabis Lady 2:29
B4. Nothings Monumet 3:33
B5. Useless Warefare 3:07

sábado, 3 de dezembro de 2016

Traffic Sound - Yellow Sea Years 1968-1971 (1968-71 peruvian, stunning hard/psychedelic folk-rock - Compilation) Flac

Psychedelic and Prog Rock band from Peru. 
Traffic Sound was a Peruvian rock band founded in 1967 by Manuel Sanguinetti (vocals), Freddy Rizo Patrón (rhythm guitar), Jean Pierre Magnet (sax), Willy Barclay (Willy "Wilito" Barclay) (lead guitar), Willy Thorne (bass) and Luis Nevares (Luis "Lucho" Nevares) (drums). Freddy and Manuel had met in school and played in Los Hang Ten's. Freddy and his older brother Jose originally thought of founding "Traffic Sound". 

The name was chosen because of their penchant for a traffic light, placed as a souvenir in the attic of the Rizo-Patróns house, where they held their practices, after a wild night in Lima. 
After a year of continued rehearsals and private shows they tried their luck at Peruvian psychedelic emporium The Tiffany with great success and recorded his first album "A Bailar Go Go" in 1968 with label MAG. It contained versions of songs by The Doors, Cream, Jimi Hendrix, Iron Butterfly and The Animals. In later albums they included their own music with a fusion of Andean and Afro-Latin sounds. They held gigs in Peru, Chile, Argentina and Brazil. 

Their second album "Virgin" (1969), all original material, catapulted them to legendary status especially because it contains the absolute icon of Peruvian Psychedelia, "Meshkalina". 
In 1970 they recorded another LP named "Traffic Sound", aka. III, aka. "Tibet's Suzettes", where they blend the Psychedelic spirit with an Andean folk sound, and give the necessary step to be closer than ever to progressive rock. 

In 1971 Braniff International Airways organized the first South American Tour of a Peruvian band, and Traffic Sound was well received in demanding markets such as Argentina and Brazil. 
After the tour they switched to bigger label Sono Radio and released four singles. At this point Willy Thorne left the band and was replaced by Zulu or (Miguel Angel Ruiz Orbegoso) on bass, with whom they recorded their last LP, "Lux". Incredibly, during a massive strike of Sono Radio workers the master tapes disappeared and were only found in 1996. This album is different to the previous, the Andean influence is more evident and some political concerns were expressed. 

The band held a memorable concert at the Teatro Segura in Lima together with the Contemporary Orchestra of Peruvian jazz pianist Jaime Delgado Aparicio in 1971 and disbanded in 1972.

The first anthology of one of the most important South American bands of the 60's! With this double LP and CD (80 minutes!) discover the best recordings the band made from 1968 to 1971 for legendary labels Sono Radio and Mag. In "Yellow Sea Years" the evolution of the band can be fully traced from their roots in ACID BLUES-ROCK –born with Hendrix, Cream or Yardbirds– to solid LATIN-ROCK, complete with PSYCHEDELIC touches and folk inspiration.

And finally you get the idea that, had they not been a Peruvian band, TRAFFIC SOUND would NOT sounded like this. But it is also clear that if they had come from a more "developed" country, they could have been one of the best known and most admired bands of their time. In fact they ARE!

sábado, 26 de novembro de 2016

Máquina! - Lets Get Smashed (2010 spanish, fantastic progressive/psychedelic blues-rock - Singles compilation) Flac

Stunning compilation with all the singles by Barcelona's legendary psychedelic- progressive group including potential hits such as 'Lands of perfection', 'Let's get smashed' or 'Look away our happiness'. 

Founded by Jordi Batiste (bass, flute), Enric Herrera (organ), Lluís "Luigi" Cabanach (guitar), and Santiago "Jackie" García Cortés (drums) as Sisa's backing band, "Máquina!" is maybe the very first underground rock group to have recorded in Franco’s Spain, their first single dating back to early 1969. 

Their first LP in 1970 had striking artwork depicting a clock coming out from a croissant, meaning that it was time to wake-up in Spain: The album was called "Why? Máquina!" and it was clearly so rebellious under a dictatorship that fellow group "Tapiman" (founded by ex-Máquina drummer J. Mª Vilaseca, "Tapi", and Barcelona crosstown rivals/friends) answered them with a track called "Don’t Ask Why". 

The five-piece group developed a high-energy Hammond-driven psych/prog rock with two lead guitarists, with many extraordinary musical moments given the context of those years. 

Two years later, the band recorded with a different line-up (both guitarists having left, and including Carles Benavent on bass). It was a live album with a much different bluesier sound complete with a brass section (and almost all new material) reminiscent of Chicago Transit Authority.