Trad Gras Och Stenar - same (1969, Swe, psychrock, Silence CDrip, single flac + cue, log, artwork)

My favorite album from the Parson Sound/Harvester/International Harvester/T, G, & S collective that I've heard so far. This one has a lot less space and repetition than the previous material, as well as a more unified sound throughout. The differences aren't huge, but can still serve as distinguishing factors among the recordings.

Each song is a high on one level or another. pretty pretty pretty pretty. gritty gritty. not so shitty.

(~rym) by stupidwall

First record under the name "Träd, Gräs Och Stenar" by the swedish psych/underground heroes Pärson Sound/International Harvester/Harvester/Träd, Gräs Och Stenar. Not as good as earlier recordings, but "Sanningens Silverflod" is a classic.

(~rym) by lulle

Träd Gräs och Stenar - Sanningens Silverflod

Tracks:
1. All Along The Watchtower     8:16    
2. I Can't Get No Satisfaction     11:07    
3. Sanningens Silverflod     3:53    
4. Tegenborgsvalsen         2:35    
5. All Makt Åt Folket         6:05    
6. Svarta Pärla Vocals        5:19    /vocal – Thomas Gartz/

Trad Gras Och Stenar:

Torbjörn Abelli - Bass, Jew's Harp, Flute

Thomas Gartz - Drums, Jew's Harp, Flute

Arne Eriksson - Electric Piano, Cello, Flute

Bo Anders Persson - Guitar, Vocals, Violin, Flute

 [Rip and Scans by gigic2255]

Link:   242 mb/file

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ONE - One (1969 uk hard psychedelic/progressive with jazz touches - 1997 reissue - Flac)

Pra quem não aprecia jazz-rock, eu estou passeando muito nessa área, não acham?! (he, he..). Esse álbum é muito bom! Desfrutem!

A little-known album whose participants were better known for session work. Brent Forbes, who was in Locust in the mid-seventies, also worked for Bob Pegg and The Surprise Sisters; Norman Leppard played with Aynsley Dunbar and Alan Marshall, who was in Zebra in the mid-seventies, played for Pete Bardens. Conrad Isadore was most prolific of all – cropping up on several other artists albums.

http://youtu.be/Cm7bPhxu9C0

KOLLEKTIV: Kollektiv (1973) (2007 Remaster + Bonus Tracks) [FLAC]

Artist: Kollektiv

Album: Kollektiv

Genre: Jazz-Fusion, Space Rock, Krautrock

Year: 1973

Country: Germany

Label/Catalog: Long Hair / LHC00064 (2007 Remaster)

Format: FLAC (image+cue+log)

PORTUGUÊS:
Kollektiv era uma banda alemã da cidade de Krefeld que surgiu originalmente em 1964 sob o nome de The Generals, com os irmãos gêmeos Wando (bateria) e Jogi Karpenkiel (baixo) com a adição de Jürgen Havix (guitarra). Influenciados pela música que vinha da Inglaterra, eles tocavam beat music, entretanto com o passar do tempo, eles resolvem se arriscar mais em experimentações e mudar completamente o estilo musical da banda. Jogi, por um tempo, foi integrante do The Phatoms, com Ralf Hütter no órgão - que mais tarde fundaria o Kraftwerk - e, em uma outra encarnação da banda chamada de Bluesology, Klaus Dapper como flautista e saxofonista. Entretanto, Jogi voltou para o The Generals e também convidou Dapper, sendo assim, como um quarteto, a banda mudaria seu nome para Kollektiv em 1970. O primeiro e único ábum da banda viria a ser lançado em 1973, pela renomada Brain Records, e continha um som jazzístico com um quê de space rock, envolvendo bastante experimentação e improvisação, podendo se colocar no mesmo patamar que bandas como Embryo, Xhol, Organisation ou Thirsty Moon. Infelizmente a banda se desfez logo em 1975 - ainda que houvesse algumas reuniões póstumas - com Jogi entrando no Guru Guru e Dapper se envolvendo com outros trabalhos de estúdio. De qualquer forma, um excelente álbum de fusion e de longe um dos mais criativos da cena alemã.


ENGLISH:
Kollektiv was a German band from Krefeld that was originally formed in 1964 under The Generals name, with twin brothers Wando (drums) and Jogi Karpenkiel (bass) with the addition of Jürgen Havix (guitar). Mainly influenced by British music, they began playing beat music, however as the time went by, they decided to risk themselves towards more experimentations and thus entirely changing their musical direction. Jogi, for instance, was also a member of The Phantoms, with Ralf Hütter on organ - who would later found Kraftwerk - and, in another incarnation called Bluesology, Klaus Dapper on flute and saxophone. Some time later, Jogi returned to The Generals and brought Dapper along, therefore now as a quartet they would change their name into Kollektiv in 1970. Their first and only album would be released in 1973 by renowned Brain Records and featured jazzistic sound with a taste for space rock, involving a lot of experimentation and jamming, going nearly the same way of bands like Embryo, Xhol, Organisation or Thirsty Moon. Sadly, they disbanded in 1975 - even though there were a few posthumous reunions - as Jogi joined Guru Guru and Dapper moving on to work as a session musician. Otherwise, this is an excellent fusion album and by far one of the most creative out of the German scene.

Tracklist:
01 Tambo Zambo (11:40)
02 Baldrian (7:05)
03 Försterlied (1:50)
04 Gageg
a) Andante (5:11)
b) Allegro (3:39)
c) Pressluft (11:07)
Bonus Tracks*
05 Intro (2:23)
06 Pull Moll (7:16)
07 Pap-Jack (13:17)
11 Rozz-Pop (5:34)

*Previously unreleased rehearsal studio tracks from 1976


Line-up:
Walemar "Waldo" Karpenkiel - drums
Jürgen "Jogi" Karpenkiel - bass
Jürgen Havix - guitar & zither
Klaus Dapper - flute & saxophone
Volkmar Hahn - violin (track 5)
Axel Zinowski - guitar (track 5 & 6)
Georg Funke - bass (tracks 6 to 8)
Christoph - electric piano (tracks 6 to 8)

Originally released as Brain Records 1034 in 1973



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CHICKEN BONES: Hardrock In Concert (1976) (1997 Reissue + Bonus Tracks) [FLAC]

Artist: Chicken Bones

Album: Hardrock In Concert

Genre: Hard Rock, Heavy Progressive Rock

Year: 1975

Country: Germany

Label/Catalog: Second Battle / SB 023 (1997 Reissue)

Format: FLAC (image+cue+log)

PORTUGUÊS:
Banda alemã bastante obscura e imensamente influenciada pelo hard rock britânico e blues do fim dos anos 60 e início dos anos 70 com adição de elementos do progressivo, mas longe de parecer uma cópia barata de qualquer outra banda, uma vez que a criatividade é notada pela ênfase na parte instrumental com um quê de improviso e pela variedade de solos. O primeiro e único álbum do Chicken Bones pode até ser um exemplo dos primórdios do metal, mas infelizmente a banda não teve o reconhecimento que merecia a acabou permanecendo na obscuridade por um longo tempo. Após o fim do Chicken Bones, alguns integrantes formaram o Revanche, que viria se tornar uma banda de heavy metal e durar até meados da década de 80 - cujas primeiras faixas estão incluídas nesse CD da Second Battle.


ENGLISH:
Very obscure German band and hugely influenced by late 60s and early 70s British hard rock and blues with the addition of progressive elements, although far from sounding like a cheap copy of anyone else, once that their creativity is noted by an emphasis on the instrumental side with a jamming approach and a big range of solos. Chicken Bones debut and only album can be even described as an example of early metal, but they sadly didn't have the recognizement they deserved and reimaned largely unknown for a long time. After they disbanded, some members went on to form Revanche, which would become a heavy metal outfit and last until around the 80s - whose some of their early tracks are included on this Second Battle reissue.

Tracklist:
01 Feeling (4:41)
02 I'm Falling (6:08)
03 Water (9:50)
04 Factory Girl (10:09)
05 Drive (4:21)
06 The Day Is Cold (4:51)
Bonus Tracks
Rehearsal Tape Track
07 Stoned Kids (6:56)
Tracks as Revanche
08 Intro (2:34)
09 Memories Of Dreams (3:56)
10 On The Road Again (3:29)
11 Brooklyn (2:51)
12 Return To The Past (4:25)

Line-up:
Rainer Geuecke - lead guitars, vocals
Hilmar Szameitat - rhythm guitar
Werner Hofmann - bass
Wolfgang Barak - drums

Originally released as Procom Records BTS 27606 in 1976



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GOMORRHA: I Turned To See Whose Voice It Was (1972) (1997 Reissue) [FLAC]

Artist: Gomorrha

Album: I Turned To See Whose Voice It Was

Genre: Heavy Psychedelic Rock, Space Rock, Krautrock

Year: 1972

Country: Germany

Label/Catalog: Repertoire Records / PMS-7052-WP (1997 Reissue)

Format: FLAC (image+cue+log)

PORTUGUÊS:
Formado no fim da década de 60 no norte da região da Renânia, na Alemanha, o Gomorrha era originalmente uma de inúmeras bandas que tocavam um pop rock psicodélico, mas que ao encontrar o apoio de Conny Plank, um dos mais respeitados produtores e engenheiros de som da cena alemã dos anos 70, conseguiu explorar seu potencial e sua criatividade. O primeiro álbum da banda, simplesmente chamado Gomorrha e lançado pela Cornet (que seria absorvida pela BASF) em 1969, continha músicas que a banda havia composto em seus primeiros anos, sendo que a única que se destacava era "Trauma", com diversos efeitos eletrônicos e colagens sonoras. Insatisfeitos com esse álbum, eles resolveram então gravar uma versão em inglês do mesmo - que apesar de usar a mesma capa, se chamava Trauma, em 1971 pela BASF - entretanto as músicas receberam uma roupagem mais atualizada, assim como a faixa-título que agora abusava menos de efeitos e seguia mais o viés do space rock. Finalmente em 1972 e agora pela Brain Records, com liberdade artística total, viria o último e melhor álbum do Gomorrha: o I Turned To See Whose Voice It Was. Produzido com apoio total de Conny Plank e com muito mais tempo para gravar em estúdio, este último álbum era completamente superior com diversos solos violentos de guitarra e órgão que dividiam espaço com um lado mais atmosférico. Infelizmente, a banda não teve o reconhecimento que merecia e acabou se dissolvendo logo em 1973.


ENGLISH:
Formed in the late 1960s in the northern Rhiland region, in Germany, Gomorrha was originally one of many bands that played pop psychedelic rock, but by meeting up the support of Conny Plank, one of the most respected producers and sound engineers of 70s German scene, he managed to explore their potential and creativity. Their debut album, simply called Gomorrha and released by Cornet (which soon would be owned by BASF) in 1969, featured a series of songs they had composed during their early days. The only highlight was "Trauma", with notable use of electronic effects and sound collages. Unsatisfied with their debut album, they decided to record it in English - which in despite of using the same cover, it was called Trauma, in 1971 by BASF - however the songs received a fresh upgrade, as well as the title-track, now abusing less of electronic effects and going through space rock veins. Finally in 1972 and now by Brain Records, with full artistic freedom, Gomorrha's last and best album was released: I Turned To See Whose Voice It Was. Produced with full Conny Plank support and a much more time to record on studio, this album was completely superior featuring violent guitar and organ solos sharing the same space with a more atmospherical side. Sadly, the band didn't have the recognizemente they deserved and soon splitted up, in 1973.



Tracklist:
01 Dance On A Volcano (10:01)
02 Opening Of The Sealed Book (5:45)
03 Dead Life (3:56)
04 I Turned To See Whose Voice It Was (7:48)
05 I Try To Change This World (9:31)
06 Titish Child (6:57)

Line-up:
Eberhard Krietsch - organ, piano
Helmuth Pohl - drums
Mike Eulner - bass
Ad Ochel - guitar
Ali Claudi - guitar
Peter Otten - vocals

Originally released as Brain Records 1003 in 1972



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Food Brain - Social Gathering (1970, Jap, heavyacidpsychrock, P-Vine CDrip, single wav + cue, log, artwork)

*** Reviewed by great fellow Adamus67 ***

Foodbrain - this legendary band released only one album, 'Social Gathering' [Polydor, 1970], the cover of which stands out due to the large elephant approaching the viewer. It contains a great, diverse mix of stuff delivered with over-the-top gusto, from stabbing high speed hard acid rock, to rollicking progressive psych jamming with crazed piano, to loud distorted bass experiments, etc. etc. Guitarist Shinki Chen [ex-Golden Cups - see below, and Powerhouse (a covers band)] later went on to record a solo album and to form the group Speed, Glue & Shinki with Foodbrain bassist Masayoshi Kabe [a.k.a. M. Glue, also ex-Golden Cups]; keyboardist Hiro Yanagida [ex-Apryl Fool - see above] later went on to play with Love Live Life + One, Masahiko Sato & Sound Brakers and to a solo career [see below]; drummer Hiro Tsunoda [ex-Jacks - see below] went on to Strawberry Path, Flied Egg and Sadistic Mika Band [see below]. The album has been reissued on CD. Food Brain - Social Gathering CD. Official Japanese press reissue of 1970 complex hard progressive rock with Shinki Chen, Hiro Yanagida, so you can imagine how wild this is. On second thought, nobody can imagine how wild this is...

A bunch of organ soloing all over this instrumental album. Songs are all over the place in that wacky Japanese kind of way. Sometime some cool guitar soloing comes in to take the place of the organ. Song titles are cool. Liver Juice Vending Machine, The Hole In The Sausage, The Conflict Of The Hippo And The Pig...you know, things like that. Sounds like these guys got together to do some jamming. After listening to it once I for sure had to listen again to try to figure out what the hell is going on here. I don't think there's much to figure out though it's just some jammin'. It's alright. Mildly interesting for a few spins. A bunch of these guys went on to better projects. Oh yeah, there's a jazzy song on here to with sax skronking and everything. The album is pretty much dominated by organ soloing. Farfisa organ if I'm not mistaken.

Amusing psych-prog, entirely instrumental and very inventive, with a virtuoso work for all instrumentalists but perhaps the predominant share of keyboards (often heavy prog classic Hammond sound, although in minute sketch One-Sided Love sounds even harpsichord). most interesting, of course, avant-prog 15-minute The Hole in a Sausage with seizures saxophone chic and lots of bass, but the rest of the stuff is very good. " All participants of this project have not gone into oblivion, and successfully played in other bands and projects, as stated above in the review. It just needs to listen. We strongly recommend that all visitors to our community. This is the most progressive direction of Japanese rock, or rather, the beginning. It is the pillar of Japanese progressive rock. It is in this project gathered the individual, who asked the Japanese trend of progressive rock. 
Thank you so much Adam for that effort
gigic2255

FOOD BRAIN was named by Shinki Chen with Cool Brain, but two Hiro are real heroes in this album.

From the first track this album is awesome! That Will Do is exactly a shining star. Hiro Tsunoda's jazzy drummings, Masayoshi Kabe's striking and loudly noisy bass sounds, and Hiro Yanagida's round-and-round-waved keyboard solo...all are terrific for listeners. Sorry that Shinki Chen's guitar, having mad, funky and freaky flavour in another work, sounds even steady and quiet. What a funny accident! Next an interude Hageyama (Naked Mountain) with spacey bass solo, electric keyboard sound and jazzy rhythm section are very impressing in Mpb No Waltz (Waltz For M.P.B.) Basically Hiro Tsunoda's spacey, strict and speedy drums and percussions are the framework and the foundation of this song. Okay, he should be a serious and skilled drummer (and currently known as a pop singer :-D). What's a Liver Juice No Jido-Hanbaiki (Liver Juice Vending Machine)? Supplement of iron or stamina? I'm sure I can get some stamina (not iron :-P) with listening to this song. Not kidding! The reason can be obvious...Shinki's guitar has lately been exploded with growling, and of course rigidly-framed rhythm sections have not turned at all. What an amazing dunk shot! Kaba To Buta No Tatakai (The Conflict Of The Hippo And The Pig) is not conflict but confusion with unusual zamba style in such a rock supper (Bansan). Wake wake up up!! Swingin' & Smart Sounds Should Start Soon!! Mezamashi Dokei (Clock) has absolutely swing & jazz flavour mimicking an alarm clock. Psychedelic keyboard sounds can remind us the bell of a clock ringing loudly near our ears and let us wake up to ourselves completely, then heavy bass and drum sounds should hit and kick our back out. Kataomoi (One-Sided Love), calm and gentle interlude by keyboard solo, can get us relaxed but suddenly by avantgarde Ana No Aita Sausage (The Hole In A Sausage) we go mad. What does Michihiro Kimura's clarinet sound mean? Hmm...I feel it mean emptiness of their future, but is it correct? Well, God (and some of Food Brain members) only knows. Indeed Food Brain was unstable as a group with serious talents and junkie travelers...this badly organized sections might let their forebodings come true I suppose... Even a funeral march comes here. As everybody has thought, is it natural they would soon be broken out? The last song Bach Ni Sasagu (Dedicated To Bach) sounds like their mischief for me. From beginning to finish, I can't breathe enough...completely knocked away by FOOD BRAIN not BRAIN FOOD.

A wonderful dawn of Japanese psychedelic rock. Listen!

(~progarchives) by DamoXt7942

"Social Gathering by Food Brain is a 1970 one-off jam record by a Japanese psych/prog “supergroup” consisting of guitarist Shinki Chen (Speed, Glue & Shinki), bassist Luis Kabe (The Golden Cups), organist Hiro Yanagida (Apryl Fool), and drummer Hiro Tsunada (Strawberry Path)..." - Last.fm

(~tripjam)

Tracks:

1 That Will Do

2 Naked Mountain

3 Waltz For M.P.B.

4 Live Juice Vending Machine

5 The Conflict Of The Hippo And The Pig

6 Clock

7 One-Sided Love

8 The Hole In A Sausage     /Bass Clarinet – Michihiro Kimura/

9 Dedicated To Bach

Clock - Food Brain

Food Brain:

Bass – Masayoshi Kabe
Drums – Hiro Tsunoda
Guitar – Shinki Chen
Keyboards – Hiro Yanagida

[Rip and Scans by gigic2255]

Link:   454 mb/file

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Heaven - Brass Rock 1 (1971 uk great heavy brass rock jazz, 2008 Esoteric reissue - Flac)

Eu não sou um admirador de jazz-rock, mas um álbum de heavy/hard rock com metais e toques de jazz é outra história! Excelente álbum; desfrutem!

A nine man band with a five man horn section comprising everything from trombone to clarinet and flutes, two guitarists who where also the alternating lead singers (one harsh the other softer), a very dynamic drummer and a competent bass player; no keyboards except some acoustic piano on a couple of a tracks; all this translates in a muscular sound, often reminding B.S&T or Chicago not only because of the brass arrangements (which also have a soundtrack quality sometimes), but also on the vocals ( an (even) more powerful David Clayton Thomas) or the guitar sound and style that sometimes reminds Terry Kath’s. But some amateurism is felt on some of the horn players, which are not so skilled as those in the aforementioned bands and that at times seem to struggle to get a fluid sound on the complex arrangements; the song writing is rich and diversified;

The album starts with a Riff based Rock Blues, powered by a raucous double guitar attack and harsh vocals, with a swinging jazzy brass arranged middle part, and some adventurous wah filtered guitar; 

“This Time Tomorrow” is an instrumental track with a 6/8 Spanish feel, a softer acoustic guitar and flutes part, and a faster one with double e-guitar leads and nice horns harmonizing; 

Back to up tempo, this time with a Country feel and very Chicago-ish horns is “Never Say Die” whereas “Come Back” has a 60’s feel, soft voice and pop flavoured vocal line often broken by hi-speed drum fills, guitar, brass and flute urgent grooves and even a distorted guitar solo – somewhat surprising… 

Things get more proggy with “Song for Chaos” that starts with a mid tempo pumping bass driven 60’s vocal feel, changes to harsh vocals over a driving jazz rock pattern, a quiet brass interlude, a ethnic hand clapped part, swinging brass arrangements with guitar solo on top, a calm Spanish trumpet part over piano backing, and then a rolling distant bass lays the basis for a raunchy guitar lead as the intro part resumes;

“Morning Coffee” is another instrumental with quiet flutes arrangements enriched by some brass over clear guitar chords; a nice octaves jazzy guitar solo graces the middle part; 

With “Number One” things get back to Jazz Rock with blistering guitar riffs, harsh vocals and blaring horns ,the some being true for “Number Two” which has a more swinging vibe (more B.S.&T sounding too); 

“Dawning” that opens with sea and seagulls sounds has Yes like vocals over gentle double acoustic guitars arpeggios, piano backing and soaring flute lines; the sea sounds make the transition to “Got to Get Away” which starts with a melancholic bass fiddle soon joined by flugelhorn and clarinet; a bubbling bass introduces a vocal line on top gentle strummed e-guitar and staccato horns; it builds up with backing vocals and more horn arrangements; the drum enters to support a nice eastern sounding sax; Latin percussions and slide guitar chords and solos speed things up; the song climaxes with the two guitars trading solos and blaring horns as the vocals theme is reintroduced; 

At almost 60 minutes (I doubt it all fitted in a single LP, but no where in the CD issue is a mention to Bonus tracks – unless this was a double…) this is a nice showcase of possible alternative paths for Brass Rock Jazz fans.

Officially released on CD for the first time, this Esoteric Recordings reissue is digitally remastered from the original master tapes and restores the artwork of the album in full (by Comus Duke).

Solid Ground - Made In Rock (1976, Swe, heavyhardrock, RE Scam Rec. vinyl rip, single flac + cue + splitter, DR9, artwork)

 *** Reviewed by great fellow Adamus67 ***

SOLID GROUND was formed in 1974. The members came from other band projects. Anders Berge and Gosta Hjelmqvist was earlier playing in a band called 4-ever, who played more proggresiv rock with lyrics written in Swedish. However they wanted to start something new and heavier, so they started looking for a bass and solo guitarist. After they had tried some bass guitarists, they came in contact with Peter Eklund who had finished job in another band. They realised immediately that this was the bass player they wanted. Two months later they came in contact with Bjorn Uhr, who they had known for a while. They asked him if he wanted to join the band, and so they become the SOLID GROUND. The band become Sweden’s heaviest band during the mid Seventies. Solid Ground signed up to SCAM records. A label owned by the former Violents and Hepstars member Hazze Ostlund.

In 1975 the band played a lot of gigs around the Stockhholm area, and also some places outside Stockholm. They also recorded their first single record, with the two tracks: “Tell me” and “My song”. In January 1976 they recorded their album:”Made in rock”. The tracks on the record were recorded in only one day. Two days later they came back to the studio for the final mixing. For many reasons, the record didn’t sell quite well, and finally when the guys was called for their dutys in the army, they decided to quit the band.

Solid Ground released their sole album, Made in Rock, in 1976, reissued in 1991 and 1995. Was it worth it? Well, it's, y'know, okay, but haven't we heard it all a million times before? Yeah, I've heard worse, but it's pretty clichéd stuff, with terrible lyrics, although to be fair, they weren't writing in their native tongue. Mind you, "Rock is my life, rock is my wife", is either unrestrained genius or utter stupidity. Possibly both. Best track is probably its longest ''Solid Ground'' itself, which, coincidentally, also features its only Mellotron work (player unknown), with a repeating strings chord sequence under the lengthy guitar duet at the song's conclusion. Anyway, a passable effort, but you can see why this isn't lauded as a lost classic - or maybe it is?

A quality hard rock to blues-based - from naughty face which opens the album ''Saturday Rae'' or ''Rock'n Roller'' to leisurely sabbath riffs ''This Bloody Town'' and ''Tombstone Kiss'', among which wormed blues ballad ''Mata Hari''. In some places it seemed like as the James Gang period Third. Properly played, with a dense sound, but without going over to the massiveness. Two bonus track, too bad, ''Tell Me'',especially ''My Song'' while his manner caused association with punk. This is hardly a disaster, as Solid Ground hadn't anything unusual to offer - the content was guitar-based, simple hard rock played by non-professional musicians. So crank up the volume for 40 minutes of 70's heavy rock'n'roll and forget all about intellectual discussions regarding the musical content. 
Thank you so much Adam for that effort
gigic2255


Solid Ground was founded back in 1974 and were the hardest Swedish act at that time. They've released one single in 1975 and in 1976 they released this masterpiece in a limited edition of 200 copies on Scam. That's the reason why the original costs around $800, but that's what it's worth. But there's also a re-release on Mellotronen, with the single track as a bonus.The album kicks off with "Saturday Rare (Handrock)" , a very heavy driven opener like almost every song on "Made in Rock". There's a unique drum-sound on this album, that makes it sounding very natural and earthy. Two other tracks, that I really like are "Tombstone Kiss" and "Rock N Roller".Both are so heavy, that they could have been played in the 90's. This album is a real heavy pearl so watch out for it!

(~cosmiclava.de)

Kick ass '70s proto-metal awesomeness alert! This Swedish band, who only managed one self-released LP back in 1976, combined hard rock panache with rough-edged rawness. It's a powerful mix of all things cool about rock in the '70s, from the swinging stoner boogie of Sabbath and Budgie and UFO to the glammy uber-catchiness of KISS and The Sweet to the melodic guitar heroics of Thin Lizzy... all done with almost punkish, sassy attitude and energy. And they've got some excellent, evocative of the era lyrics too, like these: "In the evening they go to discoteques / and drink champagne and listen to T-Rex / boys and girls look at each other / nothing happens no action no reactions" from the song "This Bloody Town". Meanwhile the production is in-your-face, plenty of distortion and reverb. HEAVY. Only 200 copies of the vinyl album were ever made, and the band eventually broke up in the wake of disco fever, a shame. (BUY IT @ Aquarius Records)

(~crotchbat)

Tracks:

side one:

A1. Saturday Rae (Hardrock)

A2. Just Tell Me

A3. This Bloody Town

A4. Mata Hari

A5. Oh Lord

           side two:        

B1. Tombstone Kiss

B2. Rock'n Roller

B3. 16 Track

B4. Solid Ground

Solid Ground -16 track (1976)

 

Solid Ground:

Peter Eklund - Bass Guitar

Anders Berge - Drums, Percussion

Gösta Hjelmqvist - Guitar, Lead Vocals

Björn Uhr - Lead Guitar

[Rip and Scans by gigic2255]

Link:   240 mb/file

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HATFIELD AND THE NORTH: Hatfield And The North (1973) + The Rotters' Club (1975) (2011 Japanese SHM-CD Remasters + Bonus Tracks) [FLAC]

PORTUGUÊS:
Hatfield And The North foi uma super banda, que apesar de ter produzido apenas dois álbuns, é considerada uma das melhores bandas da cena de Canterbury. Os integrantes, no entanto, já eram músicos experientes oriundos de outras bandas já renomadas, a começar pelo baixista e líder Richard Sinclair, que havia deixado o Caravan pouco antes, e o baterista Pip Pyle, ex-integrante do Gong. O guitarrista Phil Miller também já havia feito parte do Caravan, além do Matching Mole, enquanto que o tecladista Dave Stewart era integrante do Egg e do Khan. Com uma formação dessa, não é de se surpreender que essa banda tenha produzido dois álbuns excelentes de qualidade musical finíssima e de riqueza instrumental incomparável. Inteiramente essencial para os fãs das bandas de Canterbury.


ENGLISH:
Hatfield And The North was a super group, which in despite of producing just two albums, is considered as one of the best out of Canterbury scene. The members, nonetheless, were already experienced musicians coming from other renowned bands, beginning from bassist and leader Richard Sinclair, who by then had recently left Caravan, and drummer Pip Pyle, ex-Gong member. Guitarrist Phil Miller also had been member of either Caravan and Matching Mole, whilst keyboardist Dave Stewart played on Egg and Khan. With such line-up, it wouldn't be surprising that this band have produced two magnificient albums of the highest grade and uncomparable instrumental richness. Completely essential for Canterbury scene fans.



--------------------------------------------------------------------------------------------------------------------------------------

Artist: Hatfield And The North

Album: Hatfield And The North

Genre: Jazz-Fusion, Jazz-Rock, Progressive Rock

Year: 1973

Country: England

Label/Catalog: Virgin / VJCP-98006 (2011 Remaster)

Format: FLAC (image+cue+log)

Tracklist:
01 The Stubbs Effect (0:23)
02 Big Jobs(Poo Poo Extract) (0:36)
03 Going Up To People And Tinkling (2:25)
04 Calyx (2:45)
05 Son Of "There's No Place Like Homerton" (10:10)
06 Aigrette (1:38)
07 Rifferama (2:56)
08 Fol De Rol (3:07)
09 Shaving Is Boring (8:45)
10 Licks For The Ladies (2:37)
11 Bossa Nochance (0:40)
12 Big Jobs No. 2 (By Poo And The Wee Wees) (2:14)
13 Lobster In Cleavage Probe (3:57)
14 Gigantic Land-Crabs In Earth Takeover Bid (3:21)
15 The Other Stubbs Effect (0:38)
Bonus Tracks
16 Let's Eat (Real Soon) (3:14)
17 Fitter Stoke Has A Bath (4:33)
18 Your Majesty Is Like A Cream Donut Incorporating Oh What A Lonely Lifetime (6:08)

Line-up:
Phil Miller - guitars
Pip Pyle - drums
Richard Sinclair - bass, vocals
Dave Stewart - organ, piano
Jeremy Baines - pixiephone
Barbara Gaskin - backing vocals
Geoff Leigh - saxophones, flute
Amanda Parsons - backing vocals
Ann Rosenthal - backing vocals
Robert Wyatt - vocals (track 4)

Originally released as Virgin V 2008 in 1973



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Artist: Hatfield And The North

Album: The Rotters' Club

Genre: Jazz-Fusion, Jazz-Rock, Progressive Rock

Year: 1972

Country: England

Label/Catalog: Virgin / VJCP-98007 (2011 Remaster)

Format: FLAC (image+cue+log)

Tracklist:
01 Share It (3:02)
02 Lounging There Trying (3:10)
03 (Big) John Wayne Socks Psychology On The Jaw (0:46)
04 Chaos At The Greasy Spoon (0:30)
05 The Yes No Interlude (7:02)
06 Fitter Stoke has a Bath (7:38)
07 Didn't Matter Anyway (3:03)
08 Underdub (3:55)
09 Mumps (20:06)
a) Your Majesty Is Like A Cream Donut (Quiet) (1:59)
b) Lumps (12:35)
c) Prenut (3:55)
d) Your Majesty Is Like A Cream Donut (Loud) (1:37)
Bonus Tracks
10 Halfway Between Heaven and Earth (Full Version) (6:18)
11 Oh, Len's Nature! (2:00)
12 Lything And Gracing (3:58)

Line-up:
Phil Miller - guitars
Pip Pyle - drums, percussion
Richard Sinclair - bass, vocals, guitar (track 7)
Dave Stewart - organ, electric piano tone generator
Mont Campbell - French horn
Lindsay Cooper - oboe, bassoon
Barbara Gaskin - backing vocals
Jimmy Hastings - flute, soprano & tenor saxophones
Tim Hodgkinson - clarinet
Amanda Parsons - backing vocals
Ann Rosenthal - backing vocals

Originally released as Virgin V 2030 in 1975



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J.S.D. Band - Travelling Days (1973, UK, folkrock, WB vinyl rip, single flac + cue + splitter, DR12, artwork)

The JSD Band was an influential Scottish-based celtic and folk rock band primarily active from 1969 to 1974 and then again briefly from 1997 to 1998. The band released five full-length albums, and numerous singles and special releases, many of which are still sought after by collectors from around the world.

The JSD Band formed in 1969 and derived its name from the first letter of the first name of each of its three founding members: '''J'''im Divers, '''S'''ean O’Rourke, and '''D'''es Coffield.Peel, John, (1971), Sleeve notes for album JSD Band Chuck Fleming and Colin Finn also joined the group rounding out the five-member lineup. Additionally, fiddle+ player Lindsay Scott temporarily filled in for Chuck Fleming in 1972.

Initially, the band played the folk-club circuit with other artists such as Billy Connolly+ and Gerry Rafferty+ of the Humblebums+ and Barbara Dickson+. After getting noticed for their lively electric-rock approach to traditional Scottish folk music when they won the Scottish Folk Group Championships at Edinburgh's Usher Hall+, they made appearances on BBC Radio 1+ with DJ+ John Peel+ and on BBC Two's+ ''Old Grey Whistle Test+'' hosted by "Whispering" Bob Harris+. In 1972, they were invited to be the support band for David Bowie+ during his UK-leg+ of the Ziggy Stardust Tour+.

In 1971, the JSD Band released its first album entitled ''Country of the Blind'' on the Regal Zonophone+ label. Two albums on Cube Records+ would follow: ''Black Album'' (1972) and ''Travelling Days'' (1973).

Following the release of 1973's album, ''Travelling Days'', the group issued three singles+: "Sarah Jane/Paddy Stacks" (1973), "Sunshine Life For Me (Sail Away Raymond)/Reel Call" (1974), and "Hayes and Harlington Blues/Cuckoo" (1974). In July 1974, pressure from various sources took its toll and the band disbanded.

The JSD Band reunited for a short stint from 1997 to 1998 and released two additional albums on KRL Records (a Glasgow+-based label specialising in Scottish traditional music): 1997's ''For the Record'' which consisted of newly recorded acoustic versions of previously released material and 1998's ''Pastures of Plenty'' which consisted of new material featuring long-time friend of the group, Rob Mairs, on five-string banjo+.

(~shelf3d)

Tracks:

side one:

A1. Gallway Races

A2. Fishin' Blues

A3. Sarah Jane

A4. Travelling Days

A5. King's Favorite

side two:

B1. Cuckoo

B2. Dowie Dens Of Yarrow

B3. Down The Road

B4. Young Waters

B5. Green Fields (Of America)

JSD Band - Dowie Dens Of Yarrow (1973)

Very old ballad from the region of the Scottish border.

 A beautiful young woman is courted by nine gentlemen and also a simple plowboy, whom she loves above the noblemen. She therefore dresses up her lover to look like a knight, and to then fight for her against the others on the dismal dens of Yarrow. The plowboy fares well in the battle, but is stabbed in the back by the maiden's own brother. The maiden has an ominous dream, which proves accurate, as her lover has been killed. She collects the body, then curses her own family, including her treacherous brother John, and declares that the plowboy was the "fairest flower" among them all. Pretty sad stuff!
 

J.S.D.Band:

Jim Divers - Bass, Cello, Vocals

Colin Finn - Drums, Percussion

Chuck Fleming - Fiddle, Mandolin

Sean O'Rourke - Flute, Piccolo Flute, Fiddle, Banjo [5-string], Vocals

Des Coffield - Mandolin, Slide Guitar [Bottleneck], Twelve-string Guitar, Harpsichord, Accordion, Piano, Vocals

[Rip and Scans by gigic2255]

(vinyl VG shape A1+B1 => waves)

'Somebody was trying to tell me that CDs are better than vinyl because they don’t have any surface noise.
I said, “Listen, mate, 'life' has surface noise'

(John Peel , DJ, 30.08.1939 - 25.10.2004)

Link:   208 mb/file

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