sábado, 31 de março de 2012

Budgie - Radio Sessions 1974 (London) & 1978 (Los Angeles) - Remastered -2 CDS WAV

A post from OldBitch and Adamus67

Ai putada siguinte
Mais uma sessão de choradeira do Micose, e resolvi postar este duplo ao vivo do Budgie em 2 CDS
Os dois cds são do caralho e voces tem que baixar rapidinho, então isso aqui nem merece comentários
Divirtam-se são apenas 1,2GB de arquivos ......

Hey your Freaks

Another session of Micose whining, and I'm posting this live double the Budgie on 2 CDS
Both the CD and you guys are fucking have to download quickly, then it deserves no comments here
Enjoy yourselves are only 1.2 GB of files ......

Adamus67 part

The album contains remastered recordings from the best period in the activity of this legendary group. The first album was recorded in 1974. in the Global Village in London for Capital Radio. The program performance include, among others excellent versions of the composition "Breadfan" and "You Are The Biggest Thing Since Powdered Milk" and the very extensive "Rocking Man". The second was recorded in 1978. in Los Angeles at A & M Studios. This is one of the last performances composition of Shelley / Bourge / Williams and one of the best in the band's career.

LINKS: Disc 1: https://www.mediafire.com/?bc5v7p2ac6smvc2
Disc 2: https://www.mediafire.com/?8mhc01imv0q1ygl

London, 1974

Disc One - London 1974:
2You Are the Biggest Thing Since Powdered Milk8:18
3Hammer and Tongs12:01
4Zoom Club8:58
6Rocking Man9:22

Disc Two - Los Angeles 1978:
1Melt the Ice Away3:56
2In the Grip of a Tyrefitters Hand6:02
3Smile Boy Smile4:21
4In for the Kill / You Are the Biggest Thing Since Powdered Milk7:08
5Love for You and Me4:09
7Who do You Want for Your Love6:36
8Don't Dilute the Water6:13
9Breaking All the House Rules6:33

sexta-feira, 30 de março de 2012

Anekdoten: Vemod (1993) {1995 Japanese Reissue + Bonus Track} [APE]

Artist: Anekdoten

Album: Vemod
Genre: Heavy Progressive Rock
Year: 1993
Country: Sweden
Label/Catalog: Àrchangelo/ARC-1001 (1995 Reissue)
Format: APE (image+cue+log)

Assim como o Änglagård, o Anekdoten foi um dos grupos progressivos suecos que participaram do movimento de renascimento desse gênero no início dos anos 90. É uma banda que ainda continua na ativa e que lançou seu primeiro álbum - este em questão - há quase 20 anos. A capa pode até dar a impressão de se tratar de uma banda de metal, mas o som deles é um progressivo um pouco mais pesado e também com influências das grandes bandas do gênero dos anos 70.

Mais outro grande exemplo de que a música boa não morreu, apesar de cada vez mais continuar mais inacessível. Mas, de qualquer forma, se divirta com essa preciosidade!

Alongside Änglagård, Anekdoten was one of those Swedish progressive groups which played a very important role on the movement of rebirth of this genre back on the early 90s. It's a band that is still and fortunatly active and that released their debut album - this one in question - almost 20 years ago. The cover may even give you the impression of a metal band album, but their sound is a heavier than the usual progressive also with influence from the 70s greatest bands of this genre.

That's another great example that good music hasn't died, in despite of becoming more and more unaccessible. But, otherwise, enjoy this treasure!

01 Karelia (7:20)
02 The Old Man And The Sea (7:50)
03 Where Solitude Remains (7:20)
04 Thought In Absence (4:10)
05 The Flow (6:58)
06 Longing (4:50)
07 Wheel (7:52)
Bonus Track
08 Sad Rain (10:14)

Jan Erik Liljeström - bass, voice
Nicklas Berg - guitar, mellotron, voice
Peter Nordins - drums, percussion
Anna Sofi Dahlberg - mellotron, keys, cello, voice
Per Wiberg - grand piano

Originally released as Virtalevy VIRTA 001 in 1993



Amon Duull II-Live in concert 1973 -BBC Records Flac

Ai putada siguinte
De tanto ver o Micose implorar resolvi finalmente postar esse show raríssimo
Feito para quem ama Amon Duull é obrigatório baixar se voce gosta do estilo
Então senhor Micose, para de chorar por favor


Hey your Freaks

In both see Micose begging finally decided to post this show rare
Made for those who love Amon Duull is required to download if you like the style
So you mr. Micose, please stop crying

no passwd

crica I
crica II

Änglagård: Epilog (1994) [2010 Remaster + Bonus Track] (FLAC)

Artist: Änglagård

Album: Epilog
Genre: Symphonic Progressive Rock
Year: 1994
Country: Sweden
Label/Catalog: Änglagård Records/ANG 02 (2010 Remaster)
Format: FLAC (image+cue+log)

Eis aqui o segundo álbum do Änglagård, um dos melhores grupos suecos de progressivo sinfônico que surgiu no início dos anos 90, época em que houve um resgate deste estilo por várias bandas escandinavas. É uma pena que essa banda fez somente dois álbuns de estúdio, sendo este aqui o segundo, fora um outro álbum ao vivo. O som mantém a mesma qualidade musical em relação ao primeiro álbum, com influências claras do que havia de melhor do progressivo nos anos 70.

Curiosamente nesta versão, há um disco bônus que traz somente uma versão diferente da faixa "Rösten" - e que poderia ser incluído no primeiro disco... Mas, enfim, isso aqui é altamente recomendável pros fãs de progressivo sinfônico.

Here's Änglagård second album, one of the best Swedish symphonic progressive groups that arose on the early 90s, time on which there had been the rebirth of this genre by many Scandinavian bands. It's a pity that this band didn't manage to produce more than two studio albums, as being this one the second, besides a live album. The sound keeps the same musical quality in comparison to the first album and shows clear influences of the best 70s best progressive bands.

Curiously on this reissue, there's a bonus disc which just brings a different version of "Rösten" - and which could have been included on the first disc... But, anyway, this is highly recommended for symphonic and traditional progressive fans.

Disc 1
01 Prolog (2:00)
02 Höstsejd (15:32)
03 Rösten (0:14)
04 Skogsranden (10:48)
05 Sista Somrar (13:10)
06 Saknadens Fullhet (2:00)
Disc 2 - Bonus
01 Rösten (3:38)

Mattias Olsson - drums, cymbals, percussion
Johan Högberg - bass
Thomas Johnson - Hammond organ, mellotrons, other keyboards
Jonas Engdegård - guitars
Tord Lindman / guitars
Anna Holmgren - flute
Guest Musicians
Åsa Eklund - voice
Martin Olofsson - violin
Karin Hansson - viola, double bass
Jan Christoff Norlander - cello

Originally released as HYB CD 010 in 1994.



quinta-feira, 29 de março de 2012

Radio Moscow - The Great Escape Of Leslie Magnafuzz -WAV

Este clip é do primeiro cd, não deste cd aqui

This clip is from the first cd, and have not posted here

A post from OldBitch and Adamus67 

Putada, siguinte
O Radio Moscow é na minha opinião uma das melhores bandas atuais
Americana, se baseia em cactus, cream e outras bandas do final dos anos 60 e começo dos 70
Ouvi-la é voltar no tempo, e vendo essa garotada tocar é um imenso prazer
Então não percam tempo e baixem essa maravilha aqui que é o terceiro cd deles

Hey your freaks

Radio Moscow is in my opinion one of the best bands today
American, based on cactus, cream and other bands of the late 60th and early 70th
I heard it is going back in time, and seeing these kids play is a pleasure
So do not waste time downloading this and wonder where is the third cd of them


01 - Little Eyes (4:45)
02 - No Time (3:46)
03 - Speedfreak (3:13)
04 - Creepin' (3:28)
05 - Turtle Back Rider (4:18)
06 - Densaflorativa (3:30)
07 - I Don't Need Nobody (4:54)
08 - Misleading Me (3:53)
09 - Summer of 1942 (2:58)
10 - Insideout (5:12)
11 - Deep Down Below (5:06)
12 - Open Your Eyes (5:23)

Adamus67 part

Radio Moscow is an American psychedelic rock band , founded in a garage in Story City, Iowa in 2003. The band consists of singer, guitarist and songwriter - Parker Griggs (he also plays the drums during the recording studio) and bassist Zach Anderson. In the live shows supporting their drummer Corey Berry.

Prior to the formation of the band, Parker Griggs recorded under the solo alias Garbage Composal. After completing an album's worth of material, Griggs enlisted bassist Serana Andersen to form Radio Moscow, and the duo relocated to Colorado. Following a Black Keys gig, Griggs got a demo into the hands of frontman Dan Auerbach, he then helped in getting Radio Moscow signed to Alive Naturalsound Records, Upon returning to Iowa, Luke McDuff was brought in as the new bassist of the group. Griggs and McDuff then recorded the band's debut album in 2006, with Auerbach handling production duties; Radio Moscow was released in February 2007. Shortly after the release of the album, McDuff was replaced by Zach Anderson.
Since 2007, Radio Moscow have toured many regions of the world, with a number of live drummers including Keith Rich, Todd Stevens and Paul Marrone. The band's second album, Brain Cycles, was released in April 2009, this time self-produced by the band. Radio Moscow later released their third album, The Great Escape of Leslie Magnafuzz, in October 2011.

Radio Moscow are often compared stylistically to blues rock bands from the 1960s and 1970s, particularly fellow power trios like Cream, The Jimi Hendrix Experience and Blue Cheer. Reviewing the band's self-titled album for music website AllMusic, Greg Prato described the group's sound as "a throwback to the classic rock of the '70s", comparing certain songs to artists such as Ram Jam, The Allman Brothers Band and The Jeff Beck Group. Following the release of Brain Cycles, Radio Moscow have also been cited as an example of the stoner rock genre.

Although the time of the reign of classic rock music forever gone by the end of the seventies, and the vast majority of contemporary musicians trying to find new solutions rather than to refer to these well-proven, that there are still artists who do not want to sound on the modern power. Surely someone like this is Parker Griggs, the lead singer, guitarist and drummer of the American band - Radio Moscow.

Chaotic from start to finish, Radio Moscow's third album Great Escape of Leslie Magnafuzz is all about playing vintage riffs as hard and fast as possible. The group takes the fundamentals of garage and blues-rock, and pushes them to the max with on-stage energy. The only thing is, they aren’t a group at all. With the exception of the bass parts handled by bassist Zack Anderson, Parker Griggs plays every instrument on the record. His hyperactive drumming and screaming, wah-wah fuzz guitar solos are beyond showy, and he’s a powerful singer to boot, with his beefy yet tuneful growl. The mood and tempo of Great Escape of Leslie Magnafuzz is relentless, which can be a plus, but because there isn't much variety in Griggs and Anderson's simple, blues-based musical vocabulary, the multi-sectioned songs sometimes run on and on, like aimless jams, until the intensity starts to become a blur. Still, the duo plays hard as hell, and emulate the early-‘70s revival to a 'T' (right down to the psychedelic production and crazy studio panning and echo tricks). Sure, “Turtle Back Rider” is derivative of the Jimi Hendrix Experience, and “I Don’t Need Nobody” is a lift from the Allman Brothers Band all the way, but you can't blame them. Radio Moscow's just following in those bands' footsteps of taking old Delta blues riffs and amping them up. In this case, way up

Radio Moscow - The Great Escape of Leslie Magnafuzz (2011)

Recorded at Prairie Sun Studios in Cotati, CA
Produced by Parker Griggs
Engineered by Jason D'Ottavio
Mastered by Tim Gennert

Parker Griggs - vocals, guitars, drums, percussion, harmonica, production, mixing, illustrations
Zach Anderson - bass

All songs written and composed by Parker Griggs; "Little Eyes" and "Summer of 1942" co-written by Zach Anderson. 


quarta-feira, 28 de março de 2012

H.P. Lovecraft: Live • May 11, 1968 (1991) [FLAC]

Artist: H.P. Lovecraft

Album: Live • May 11, 1968
Genre: Proto-Progressive/Psychedelic Rock
Year: 1991
Country: United States
Label/Catalog: Edsel Records/DIAB 8035
Format: FLAC (image+cue+log)

"Blessed with one of the best live recording qualities one can hear from '60s efforts -- especially considering that H.P. Lovecraft was never a major success -- Live May 11, 1968 provides a reasonable alternate way for the curious to find out what the shouting was all about. Split almost evenly between first and second album material, and featuring then-new bassist Jeff Boyan (brought in to replace Jerry McGeorge), this release shows that the quintet certainly had something. If there are plenty of moments where the addictive blend of garage jamming and mindblown psychedelia seems on the verge of collapsing into noodling or bad Doors imitations, there's enough of H.P. Lovecraft's own particular approach to justify a listen by anyone into exploratory late-'60s rock. Certainly once or twice the band ends up sounding remarkably prescient -- the opening of "Wayfaring Stranger" calls to mind the blend of propulsion and trance Can would shortly make its own in Germany, with Tegza's tight beats leading the way. Plenty of other examples can be noted, with the transferred tape itself further suggesting the European group's approach -- check the midsection of "The Drifter," where only Michaels' keyboards steer away from the driving rhythm. Edwards and Michaels' lead vocals work great together live -- their training and earlier studio experience showing well -- and the whole band tackles the spirit of the times to a T. Two standout performances are the one-two punch of "The White Ship" and "At the Mountain of Madness," both of which also make for the perfect tribute to the original Lovecraft himself. Occasional introductory comments surface from Edwards, but otherwise the five just get it all together and take off -- and do so quite well." (Ned Raggett @ AllMusic)

01 Wayfaring Stranger (10:23)
02 The Drifter (8:24)
03 It's About Time (4:55)
04 The White Ship (7:02)
05 At the Mountains of Madness (5:34)
06 The Bag I'm In (3:35)
07 I've Been Wrong Before (2:54)
08 Country Boy & Bleeker Street (3:46)

George Edwards - rhythm guitar, lead guitar, bass, lead vocals
David Michaels - keyboards, clarinet, recorder, lead vocals
Jerry McGeorge - bass, vocals
Tony Cavallari - lead guitar, vocals
Michael Tegza - drums, vocals

Recorded live at Fillmore West, San Francisco, United States, on May 11th, 1968.


domingo, 25 de março de 2012

Orange Goblin - 2012 - A Eulogy For The Damned WAV

Para quem gosta de rock pesado
For those loves heavy metal

A post from OldBitch and Adamus67

Ai putada siguinte
Eu considero esta banda inglesa uma das melhores dos ultimos tempos, com um rock de primeira qualidade, baseado muito no Black Sabbath
Todas as musicas são ótimas, com destaque para a primeira Red Tide Rising,uma senhora paulada

Hey your freaks
I consider this one of the best British band of recent times, with a rock-grade, based much in Black Sabbath

All the songs are great, especially the first Red Tide Rising,a great and powerfull music


1. Red Tide Rising - 4:50
2. Stand For Something - 3:48
3. Acid Trial - 4:13
4. The Filthy & The Few - 3:32
5. Save Me From Myself - 5:59
6. The Fog - 6:46
7. Return To Mars - 2:27
8. Death Of Aquarius - 5:49
9. The Bishop's Wolf - 4:40
10. A Eulogy For The Damned - 7:17


• Ben Ward - vocals
• Joe Hoare - guitars
• Martyn Millard - bass
• Chris Turner - drums

Adamus67 part

The U.K.’s Orange Goblin is one of those bands of, heard mostly good things, but just never got up the gumption to track down their stuff. Over their long career, I’ve heard them called doom, stoner, punk and hard rock. While I must confess complete ignorance regarding all their prior releases, what I’m hearing on A Eulogy for the Damned, seems to justify all the monikers to a degree. In a nutshell, Orange Goblin plays a type of gritty, greasy hard rock with elements of 70′s doom and nods to southern rockers like Molly Hatchet and ZZ Top. There are echoes of  Black Sabbath, Motörhead and even late period Corrosion of Conformity in their sound. Basically, it’s music suitable for the kind of bar where you leave a few teeth as the tip. Its also much less stoner/doom based than I expected and way more groove rocking. While it isn’t going to be album of the year, its a grower with lots of rockin a music for rowdy folks with outstanding warrants and mean dispositions is all about loud, in-your-face guitars, groovin rhythms and whiskey soaked vocals. No grace, no subtlety, just raucous, straight ahead, hard drinking music. Tracks like “Red Tide Rising” and “Stand for Something” are stripped down, muscular rockers with plenty of attitude and swagger. Big, fat riffs are the order of the day and there are plenty of good ones scattered about. The big winners are the southern-fried boogie of “Save Me From Myself,” the hard and heavy stomp of “Death of Aquarius” and the title track, which is the perfect soundtrack for last call at the town tavern. Of the ten tracks, only “Return to Mars” and “A Bishop’s Wolf” feels a bit flat.
This record, and I assume their other material, is all about the badass guitar playing of Joe Hoare and the tough-as-nails vocals of Ben Ward. Hoare crafts one knuckle dusting riff after another, balancing attitude with power and he propels the songs along like a drunken Sherman tank. His style is all about barroom bravado and you can almost smell the cheap bourbon and stale beer. He incorporates just the right amount of southern funk and blues and they add a lot of charm and atmosphere to the songs. Ward’s gruff, raspy bark and holler approach sounds perfect alongside the riffage and he gives the music a rough and ready vibe. Sometimes he reminds me of Reverend James Rota of Fireball Ministry, other times he sounds more like Lemmy. He doesn’t have much range and he doesn’t mix up his delivery much but it suits the music extremely well. Lyrically, this thing crackles with wit and boozy wisdom. I really found myself digging what Ward was saying and there’s some really well thought out word play...Here’s blood in your eye!
Eulogy is one of those simple, no-frills albums.



sábado, 24 de março de 2012

Budgie: Let The Bird Out Of Its Cage! (Live Northampton 2004.03.23) {Bootleg} [FLAC]

Mesmo que o Budgie tenha voltado à ativa e feito alguns shows nos últimos anos, ainda é difícil encontrar bootlegs desses shows, até porque eles são feitos em lugares para poucas pessoas. No caso desse aqui, o Budgie tocou pra uma platéia de cerca de 300 pessoas. O som é perfeitamente audível, de qualidade quase perfeita, exceto por algumas distorções nas partes mais pesadas. Quanto às músicas tocadas, há uma seleção desde o primeiro álbum até o 'Nightflight', já que até então eles não tinham preparado nada de novo.

Quanto à formação, no baixo e nos vocais, como sempre, o velho Burke Shelley acompanhado de Steve Williams - baterista da banda desde o 'Bandolier', lançado em 1975 - e Craig Goldy - guitarrista ex-integrante da banda de DIO.

Por fim, é só baixar e curtir a sonzeira!

Although Budgie have got back on track and played some concerts in the last decade, it is still very difficult to find bootlegs of these concerts, even because they are played in small venues packed with a few people. On this one, Budgie played for an audience of about 300 people. The sound is perfectly audible and has an almost perfect quality, except for some distorcions in the heaviest parts. As for the songs played, there is a selection that goes from their debut album until 'Nightflight', once that by then they hadn't prepared anything new.

About the line-up, on the bass and vocals, as always, the good old Burke Shelley alongside Steve Williams - drummer who is onboard since 'Bandolier', released in 1975 - and Craig Goldy - guitarrist and former member of DIO's band.

Now it's just about downloading and enjoying this mega sound!

Recorded live from the audience at Roxy Theatre, Northampton, PA, United States, on March 23rd, 2004.

Disc 1:
01 Intro (4:33)
02 Panzer Division Destroyed (7:35)
03 Melt The Ice Away (5:53)
04 Gunslinger (6:26)
05 Crime Against The World (5:57)
06 I Turned To Stone (6:38)
07 Black Velvet Stallion (9:10)
08 In For The Kill > Rape Of The Locks > Guts (12:14)
09 Nude Disintegrating Parachutist Woman (3:32)
10 Zoom Club (7:37)
Disc 2:
01 Napoleon Bona Part One - Part Two (10:13)
02 Parents (2:56)
03 Breadfan > Guitar Solo > Whiskey River (12:19)

Burke Shelley - bass, vocals
Craig Goldy - guitar
Steve Williams - drums


Password: bordeldorock.blogspot.com

Baby Grandmothers Turn On, Tune In, Drop Out -FLAC (Very Rare)

A post from OldBitch and Adamus67

Ai putada, só para encerrar, mais um cd do Baby
Esta banda sueca é muito boa para quem gosta da época, bem progressiva e psicodélica
Raramente postada na internet, aproveitem e se divirtam
São apenas 3 longas músicas, que eu sei que voces vão gostar
Então aproveitem

Hey yor freaks

This Swedish band is very good for those who like the time, and progressive and psychedelic
Rarely posted on the Internet, enjoy and have fun
Are only three songs long, I know that you'll love
So enjoy


Adamus67 part

This band can be treated as ahead of time with a progressive experimental orientation playing long, mainly improvised songs oriented at Cream and Jimi Hendrix.
Baby Grandmothers were a short-lived Swedish band, but one of the most prolific and unique psychedelic, modal, experimental power-trios to emerge out of the Scandinavian psychedelic underground-scene in 1967. Although hailing from Stockholm, Sweden they only released a single in Finland, which has since become one of the most sought after pieces of vinyl from the era.

Track List:
01 – Opus 1 – ascending (12:49)
02 – Opus 2 – floating (8:20)
03 – Opus 3 – descending (10.20)

- Kenny Håkansson (guitars)
- Pelle Ekman (drums)
- Bella Linnarsson (bass)

The band was then re-christened Baby Grandmothers by the co-founder of the newly opened psychedelic club Filips, for which he needed a house-band. Filips was the legendary breeding ground for bands such as Hansson & Karlsson, Pärson Sound, as well as orgiastic all night jams with foreign luminaries such as Jimi Hendrix and the Mothers of Invention...
Although it’s unknown whether this was one such recording, but the band did share the FILIPS stage for all-night jam sessions with the likes of Hendrix and The Mothers when they rolled through town, and Jimi’s influence, particularly on Håkansson’s amazing guitar work is immeasurable. Throughout, Håkansson dons the guitar God crown, exploring every nook and cranny of sound he can emit from his guitar, although to label him a “Swedish Jimi Hendrix” would be unfair, as he, perhaps intentionally, lacks or avoids the blues’ structures underlying many of Jimi’s solos. 

So how does it sound? Totally good-times OTT psych fuzz?n?wail, like remember the first time you heard ?Stoned Guitar? or ?Vincebus Eruptum? or ?Voodoo Chile? or Guru Guru?s ?UFO? or ?Phallus Dei? or ?Yeti? or Nuggets vol. 1, or 2, or 3, or 4.. and it slugs you right there behind your eyes which droop pleasantly and then you settle in your chair and let the drugged-out cosmic stoner guitar jams melt your bones.

It's a Sabbath doom lament that will leave amp residue on your brain after you are done with it. If you have managed to get over you tired indie-rock aversion to guitar solos, each record on Baby Grandmothers will be balm to your ears....
I'd say the band was set on eclipsing the sun with this monster, but they don't exactly get much sun up there....Get the Baby Grandmothers music here!

no passwd



sexta-feira, 23 de março de 2012

Baby Grandmothers-Baby Grandmothers (Swedshy Band )- FLAC

A post from OldBitch and Adamus67

Ai putada, siguinte
O Baby foi uma das melhores bandas suecas dos anos 60 e inicio e anos70
Misturando psicodelia e com toques de Blue Cheer esta é uma grande pedida para quem gosta dessa época
Com alguns temas longos, deve ser ouvida com todo carinho, e é muito rara


Hey your freaks

Baby was one of the best Swedish bands of the 60s and beginning and anos70
Mixing with touches of psychedelia and Blue Cheer this is a great choice for those who like this time
With some issues long, must be heard with all affection, and is very rare


Adamus67 part
Swedish underground trio, although there were only 2 years (1967-1969)enrolled forever in the annals of not only the Scandinavian but the world of music under the sign of heavy psych.

Currently it is estimated that Baby Grandmothers were highly significant impact on the local rock, no less than legendary Mecki Mark Men, and in many respects even surpassed them. Group originated from the garage T-Boones, with guitarist Kenny'emu Håkanssonowi, who co-wrote the first in the Swedish hard rock song "I Want You", in the summer of 1967.
Debuted in the Swedish psychedelic mecca - the club Filips. A year later, together with that Mecki Mark Men supported, Jimi Hendrix during his tour of Sweden. The material in this publication is a continuation of excellent radio sessions and the group gave concerts in 1967-68. The CD includes: Recording radio session - Finnish Radio in 1968, continuing Filips Cafe in Stockholm in 1967 and live recordings - Live In Finland 68th

What's more, this stuff is heavy: the fuzz tone of the guitar is delicious, and while the rhythm section sometimes gets lost behind Håkansson's guitar Heroics, for the bridge part they more than hold Their Own, Offering an impressive, pounding accompaniment.
Combine a keen melodic sense, an ability to improvise with imagination and creativity, and a heavy psych-rock groove That sounds ahead of its time, and you get one of the best surprises of the year so far. Big thanks are in order to Reine Fiske for getting this material to see the light of day, if only all archival recordings were so essential!

Track List :
01. Somebody Keeps Calling My Name
02. Being Is More Than Life
03. Bergakungen
04. Being Is More Than Life 2
05. St. George's Dragon
06. St. George's Dragon 2
07. Raw Diamond

Musicians : 
Kenny Håkansson - Guitar
Bella Fehrlin (Bengt Linnarsson) - Bass
Pelle Ekman - Drums

Actually, even this is not a record. Released on CD and LP 'Baby Grandmothers' is a collection of recordings of the Swedish band from the years 1967-1968. So we have here only single 'Somebody Keeps Calling My Name - Being Is More Than Life', and recording from two concerts in 1967 and 1968.
This band is all but forgotten phenomenon. Singles record, especially the first page, it's just musical cosmos....

It starts slowly, slowly. Wandering the wonderful vocal. From the beginning, is some palpable tension rising. Track speeds up gradually, but when it reaches a peak, then we have to deal with the heating and flushing of which probably no one in 1968 dreamed. Just a real heavy-psychedelic buzz. Rarely fall into such exaltation, but in this case it is difficult to behave differently.
The band, gate valve as hard and as strongly as possible. Everything here is amazing.

The other, side single is now calmer, kept at a slow pace. Baby Grandmothers in place even more emphasis on building here for the climate.

While it's live recording higher driving school. In the first three songs Baby Grandmothers have emerged as masters of long heavily improvised composition. Taking into account the years, and under what conditions all have been registered, it's hard to believe how sensational it all is and how well it listens to. A veritable musical heaven. There is an amazing and mysterious changing mood and tempo changes. I play heavy guitar contrasted with the more delicate motifs.

Word here is everything that fans of sharp guitars need to be happy. 
Baby Grandmothers definitely even then they were a different era.
Enjoy!Go grab

no passwd


quinta-feira, 22 de março de 2012

Magma: Üdü Ẁüdü (1976) {2009 Japanese SHM-CD Remaster + Bonus Track} [FLAC]

Artist: Magma
Album: Üdü Wüdü
Genre: Zeühl
Year: 1976
Country: France
Label/Catalog: Seventh Japan/SJMD-12 (2009 Remaster)
Format: FLAC (image+cue+log)

"Üdü Ẁüdü is the fragmented follow-up to Magma's successful 1976 Live set. Leader Christian Vander relinquished some control over the group for this album, only writing about half the music. From the start, the signature Magma sound is noticeably different, to which the quaint rhythm box-generated Latin beat flavoring the title track attests. Also, synthesizers are used throughout the album (to varying degrees of success) and most of the songs are short (three to four minutes) with simple, almost catchy melodies. Bassist Bernard Paganotti wrote "Weidorje." Heavy synths date this tune, and the rather mellow, optimistic vibe (which it shares with the title track) does seem uncharacteristic of a band known for singing about the end of the world. During the course of recording, Paganotti would leave Magma to form his own band, named after this song. Perhaps the most significant aspect of the album lies in the compositions of bassist Jannick Top. "Soleil D'Ork" and especially "De Futura" perfectly capture the simultaneous joy and doom of all the best Magma music. "De Futura" is an 18-minute, funky tour de force. This piece practically invented the "brutal prog" scene (à la groups like Flying Luttenbachers and Ruins) with its crushing bass and heavy, syncopated drums. That is not to say that it's chaotic or disjointed, but there is definitely a primal aggression at work here that Magma rarely approached; it's fierce and fun.

Since it came immediately after the almost universally praised Live in Magma's discography, prog aficionados often underrate this album. Truthfully, it is not in the higher pantheon of the band's work; it lacks the cohesion of their earlier releases and veers away from the Kobaian legacy that had informed most of the band's strangeness. Synthesizers and shorter songs may have been concessions to the times or may have just been a breath of fresh air for the band. Whatever the case, the album has enough to offer that fans should investigate it." (Dominique Leone @ AllMusic)

01 Üdü Ẁüdü (4:10)
02 Weidorje (4:30)
03 Troller Tanz (Ghost Dance) (3:40)
04 Soleil D'Ork (Ork's Sun) (3:50)
05 Zombies (Ghost Dance) (4:10)
06 De Futura (18:00)
Bonus Track
07 Ëmëhntëht-Rê (3:12)

Christian Vander - percussion, vocals, piano, keyboards, drums
Jannik Top - bass, Brass arrangements, vocals, synthesizer
Klaus Blasquiz - vocals
Stella Vander - vocals
Lisa "Deluxe" Bois - vocals
Lucille Cullaz - vocals
Catherine Szpira - vocals
Pierre Dutour - trumpet
Alain Hatot - saxophone, flutes
Bernard Paganotti - bass, vocals, percussion
Patrick Gauthier - keyboards
Michel Graillier - keyboards
Benoît Widemann - keyboards

Originally released as RCA FPL1-7332 in 1976.


Password: bordeldorock.blogspot.com

Magma: Live/Hhaï (1975) {2009 Japanese SHM-CD Remaster + Bonus Tracks} [FLAC]

Artist: Magma

Album: Live/Hhaï
Genre: Zeühl
Year: 1975
Country: France
Label/Catalog: Seventh Japan/SJMD-10/11 (2009 Remaster)
Format: FLAC (image+cue+log)

Em seu ápice criativo, o Magma lançou um álbum ao vivo com faixas tocadas em shows feitos em Paris no início de junho de 1975, este que foi lançado com o nome 'Live/Hhaï', mas também conhecido como 'Magma Live', 'Live Köhntark' ou 'Hhaï Live'. Apesar de vários nomes, este é considerado como um dos melhores álbuns já lançados pelo Magma, um dos maiores expoentes do progressivo francês.

Em relação ao vinil original, esta versão que é a mais recente, traz duas faixas bônus, sendo: "Ëmëhntënt-Rê", que era tocada regularmente naquela turnê e foi até lançada como álbum apenas em 2009; e "Da Zehul Wortz Mëkanïk", que fazia parte da suíte 'Mekanïk Destruktïw Kommandöh'.

On their creative peak, Magma released a live album with tracks played during concerts in Paris in June 1975, which was originally entitled as 'Live/Hhaï', even though it is also known as 'Magma Live', 'Live Köhntark' or 'Hhaï Live'. In despite of many names, this is considered as one of the best albums ever released by Magma, one of the greatest exponents of French progressive music.

In comparison to the original vinyl, this version which is the most recent, brings two bonus tracks: "Ëmëhntënt-Rê", regularly played during that tour and that would be the title track of an album released only in 2009; and "Da Zehul Wortz Mëkanïk", which was part of the 'Mekanïk Destruktïw Kommandöh' suite.

Recorded live at Olympia, Paris, France, from June 1st through 5th, 1975.

Disc 1
01 Köhntark (Part 1) (15:44)
02 Köhntark (Part 2) (16:16)
03 Ëmëhntënt-Rê* (8:12)
Disc 2
01 Hhaï (9:20)
02 Kobah (6:37)
03 Lïhns (4:55)
04 Da Zehul Wortz Mëkanïk* (6:14)
05 Mëkanïk Zaïn (18:58)

*Bonus tracks

Benoit Widemann - keyboards
Bernard Paganotti - bass
Christian Vander - drums, vocals
Didier Lockwood - violin
Gabrid Federow - guitar
Jean-Paul Asseline - keyboards
Klaus Blasquiz - vocals
Stella Vander - vocals

Originally released as Utopia CYL2-1245 in 1975



quarta-feira, 21 de março de 2012

Ash Ra Tempel: Live Bern, 10th September 1971 (Compilated by micose.) [FLAC]

Assim como o post de ontem, esta gravação também vem da série The Private Tapes de Manuel Göttsching, e para ser preciso, do sexto e último volume. Na época desse show, a banda já tinha lançado seu primeiro álbum pela Ohr e o que se ouve nessa gravação é basicamente parecido com o que havia no álbum, apesar de consistir em uma longa seqüência de improvisos que dura quase uma hora! O som da banda lembrava tanto o Hawkwind quanto o Tangerine Dream, começando bem lentamente somente com guitarra cheia de efeitos e aos poucos ganhando força com o peso do baixo e da bateria.

Este é realmente essencial para quem é fã de krautrock, uma vez que a banda incorporava a filosofia dos longos e livres improvisos acompanhados efeitos eletrônicos para dar uma atmosfera mais marcante à música.

As well as yesterday post, this recording also comes from Manuel Göttsching's "The Private Tapes" series - more precisely from the sixth and last volume. By the time of this concert, the band had already released their debut album by Ohr and what you can hear on this recording sounds basically like what was featured on the album, in despite of consisting on a sequence of improvisements which lasts for almost an hour! Their sound reminded Hawkwind and Tangerine Dream on their early days, beggining very slowly only with a guitar fully packed of effects and gradually getting more intense with the bass and the drums.

This is really essential for krautrock fans, once that the band incorporated the philosophy of almost endless and totally free improvisements played alongside electronic effects in order to add a more notable atmosphere to the music.

01 Ein Würdiger Abschluß (54:16)

Manuel Göttsching - guitar
Hartmut Enke - bass
Klaus Schulze - drums

Recorded live in Bern, Switzerland, on September 10th, 1971.


Password: bordeldorock.blogspot.com

terça-feira, 20 de março de 2012

Ash Ra Tempel: Live Cologne, 28th February 1973 (Compilated by micose.) [FLAC]

No fim dos anos 90, Manuel Göttsching lançou uma série de gravações ao vivo e de estúdio que nunca tinham sido lançadas antes em uma série entitulada "The Private Tapes", que consistia em seis volumes separados. Mas como se tratava de uma prensagem feita pelo próprio Göttsching, poucas cópias foram produzidas e a série rapidamente se tornou relíquia entre colecionadores.

Nos volumes 4 e 5, haviam duas faixas do último show do Ash Ra Tempel feito com a formação original na cidade de Colônia, na Alemanha, em 28 de fevereiro de 1973. Daí eu resolvi colocá-las em um álbum único para compartilhar com vocês, apesar de NÃO se tratar de um bootleg.

Além de Göttsching, os outros integrantes eram Hartmut Enke e Klaus Schulze, que já estava seguindo carreira solo. E as duas faixas tocadas são longas improvisações no melhor do que você pode ouvir de space e krautrock.

On the late 90s, Manuel Göttsching released a series of previously unheard live and studio recordings entitled "The Private Tapes", which consisted in six separated volumes. However, as it was a private pressing, a few copies were produced and the series quickly became collector's pieces.

On volumes 4 and 5, there were two tracks of Ash Ra Tempel's last concert with the original line-up played in Cologne, Germany, on February 28th 1973. Then I decided to organize them into one album to share with you, in despite of NOT being a bootleg.

Besides Göttsching, the other members were Hartmut Enke and Klaus Schulze, who by then was already on a solo career. And the two tracks played are long improvisations which fit into the best you can hear of space and krautrock.

01 Dédié à Hartmut (39:59)
02 Ooze Away (28:00)

Manuel Göttsching - guitar
Hartmut Enke - bass
Klaus Schulze - drums

Recorded live in Cologne, Germany, February 28th, 1973.


Password: bordeldorock.blogspot.com

segunda-feira, 19 de março de 2012

Cactus: Cactus (1970) {2009 Japanese SHM-CD Remaster} [FLAC]

Artist: Cactus

Album: Cactus
Genre: Boogie/Blues/Hard Rock
Year: 1970
Country: United States
Label/Catalog: Victor Enteirtainment/VICW-70006 (2009 Remaster)
Format: FLAC (image+cue+log)

"Cactus may have never amounted to anything more than a half-hearted, last-minute improvised supergroup, but that don't mean their eponymous 1970 debut didn't rock like a mofo. The already quasi-legendary Vanilla Fudge rhythm section of Bogert and Appice may have provided the backbone of the band's business cards, and soulful, ex-Amboy Duke Rusty Day brought the voice, but it was arguably former Detroit Wheels guitarist Jim McCarty who was the true star in the Cactus galaxy, spraying notes and shredding solos all over album highlights such as "You Can't Judge a Book By the Cover," "Let Me Swim," and, most notably, a manic, turbocharged version of "Parchman Farm." The fact that Cactus chose to tackle this classic blues song just a year after it'd been blasted into the fuzz-distortion stratosphere by Blue Cheer betrays -- at best -- a healthy competitive spirit within the early-'70s hard rock milieu, and at worst it suggests something of a mercenary nature to Cactus' motives, but that's an issue for the surviving bandmembers to duke it out over in the retirement home. And we digress -- for the blistering closing duo of "Oleo" and "Feel So Good" (complete with bass and drum solo slots) easily certifies the Cactus LP as one of the best hard rock albums of the then brand-new decade, bar none. Too bad the illustrious members of Cactus would quickly lose interest in this band project and deliver increasingly mediocre efforts in the years that followed." (Eduardo Rivadavia @ AllMusic)

01 Parchman Farm
02 My Lady From South Of Detroit
03 Bro. Bill
04 You Can't Judge A Book By The Cover
05 Let Me Swim
06 No Need To Worry
07 Oleo
08 Feel So Good

Carmine Appice - drums
Tim Bogert - bass
Rusty Day - vocals, harp
Jim McCarty - guitar

Originally released as ATCO Records SD 33-340 in 1970


UFO With Larry Wallis (Pink Fairies) on Guitars-Video

Ai pessoal, eu achei este raro video do UFO com Larry Wallis do Pink Fairies no youtube
Então divirtam-se com esse raríssimo vídeo


I found this rare video of the UFO with Larry Wallis of the Pink Fairies on youtube

So have fun with this rare video



domingo, 18 de março de 2012

Sudden Death - Suddenly - 1971 or 1972- FLAC

Para quem gosta de Black Sabbath

 For those who like Black Sabbath

A post from OldBitch and Adamus67

Putada , siguinte
Este disco aqui pode ser considerado um dos elos perdidos do rock pesado e que só agora chega à nós
Gravado como demo nos estudios da CBS foi redescoberto pelos fãs do verdadeiro rock
Com toques de Black Sabbath é muito legal, então baixem rapidamente, pois ele é muito raro de se ver na internet

Hey your freaks

This disc here can be considered one of the missing links of heavy rock and is only now comes to us
Recorded as a demo in the studios of CBS was rediscovered by fans of true rock
With touches of Black Sabbath is pretty cool, so download quickly because it is very rare to see on the Internet

1-Come Away With Me
2_Road Back Home
3 Lament
4 The Zoo
5 My Time Is Over
6 Leather Woman
7 Fugit Orchard
8 Crazy Lady

John Binkley - bass
Charlie Brow - drums
Joey Dunlop - guitars
Greg Magie - vocals
no passwd 

Adamus67 part
The Sudden Death for many years was one of the biggest mysteries of American Hard Rock seventies, when this album was released by Rockadelic Records in 1995 brought nothing in the booklet on its history or its members, as the date marking the album as recorded between 1971 and 1972 curiosity did not increase because we were in front with a pearl of the Hard Rock had no mother or father. Hysterical heavyrock madness from a strange Lp Suddenly is a satanical evil looking beast, just a look at the mournful cover, a photo of two blackrobed priests and a couple of children holding up a cross behind a pile of skulls, its probably taken in South America it looks like it, could be a tribe or something. Suddenly is a powerhouse album, with banchee like vocals killer guitarwork and a awesome backing section, the tracklist varies from slow doomy atmospheric stuff like My Time Is Over and Road Back Home to powertunes like Leather Woman and Crazy Lady to the mellow melancholic Come Away With Me. The backgrounds of Sudden Death remains unknown where they came from and where they went, but Suddenly is a strong heavy acid rock album that gives a excellent documentation how powerful this band was.

Sudden Death - Suddenly (1971)US Heavy Psych,Hard Rock

Track list: 
01- Come Away With Me - 4.08 min 
02- Road back Home - 5.27 min 
03- It's Lonely here - 4.57 min 
04- The Zoo - 5.48 min 
05- My Time Is Over - 4.35 min 
06- Leather Woman - 4.26 min 
07- Country Livin' - 5.13 min 
08- Crazy Lady - 4.12 min 

Only recently with the advent of the Internet and collaboration essential to the bassist and founder John Binkley had access to the history of this band and disturbing album.
This is a live-in-the-studio demo recorded in March, 1972 at the CBS Columbia Records studios in Hollywood. Various online references list the year of the recording as 1971, but that appears to be wrong based on Binkley's notes.

The band formed in Pasadena, California in 1970 by school friends John (bass) and Tim Lavrouhin (drums) were jamming it in Tim's basement playing covers of Hendrix, Doors, Cream, Blue Cheer Blues and later joined to double the guitarist Joey Dunlop was already a professional experience with local bands which had already achieved some success. Now lacking a vocalist and the first person to hold the post was Marci, a blues singer, with such training the Sudden Death begins work on starting sequence repertoire of shows in bars and nightclubs, but Cathy the producer of the band and wife Joey, have ideas of professionalism and resolve to do something but seriously, they decide to pursue a professional vocalist in England and so the post is occupied by Dave Marci X. The guy did not last long as her colleagues were maturing musically Dave's voice fell short of the desired new proposal by the band that was playing a bit heavier escaping feature bluesy original. The post was occupied by the great Greg Magie, a Hollyoodiano not at all is due to his contemporaries, who owns a unique voice perfectly fits the music of Sudden Death and has a striking stage presence that made the Sudden Death of a more local legends when the subject was performing live.

When the band was one of his best moments with your name running from mouth to mouth drummer Tim decides to leave the group after several auditions to replace it by accident found the perfect drummer, legend has it that John was offering help to push a beetle of a driver when obervou that in the back seat were a lot of bass drums and cymbals, will chat, chat and so is Charlie Brown is part of the Sudden Death setting the training you recorded this classic hard rock underground of the American scene.

With this training new songs were written, several shows have been made, schools, clubs, parks, farms, private parties etc ... The Sudden Death was taking his music to all corners of California fans and garnering increasing interest in the record. A curiosity that could not fail to mention is that the band's success was such that fans created a telephone network, then the other one communicated would happen when the next show of the band! Thus, in 1972, the band caught the attention of Kim Fowley. Kim had been a familiar figure in the professional music scene in Hollywood for years and was now an independent producer and talent scout in the service record of seeking an answer to the UK rock scene and its literally a project entitled "for an answer U.S. to Black Sabbath. " ! Kim was working with Michael at the service Sunday at Columbia / Epic Records in search of a hard rock band and managed to score a hearing professional in Columbia for the band. The demo was recorded in 1972 on Sunset Blvd in short six hours, almost everything you hear here is live with no overdubs.

The group knows it took a big step for a recording contract but even after the huge local success the band was not chosen the Sudden Death and the entire project died, the band's demo tape bearing the original name of "Overtime", was stored for long 23 years years. The group continued for a further year after the fiasco of Epic but then decreed his end. John, Charlie and Greg formed the Sky Fire Keith Winnovich with guitarist and keyboardist Dave Morgan playing the clubs of Los Angeles for just over a year. In 1973, they recorded a demo of their song "Heavy Metal Kids" to Kim Fowley. The Sky Fire ended when John Terry Brent joined to form the Hammerhead with Addison and Austin Woods Woody on guitars and vocals Greg Sanford. They worked with Kim Fowley in 1974 to write "Summer Nites" signing a recording contract with GNP to release it, along with "Jewels" (written by Greg Sanford) as a single that hit the radio in several markets around the country, including Los Angeles. To date, copies of this record are occasionally available on eBay and other sites rarities buffs. John and Joey joined to form the Temper in the late 70's seeking the same vibe Sudden Death but the result was a badly recorded tape, the group ended activities even before completing one year. A curious fact is that Joey's wife, Cathy, continued in the business of producing hard rock bands, John reports that one of these bands with whom he came in the studios would be none other than Van Halen!
This album is in my opinion a lost and heavy gem,making all my painstaking/time consuming efforts in finding heavy obscure grails certainly worth it when something like this diamond falls in my lap...Said album starts oddly enough, kinda soft but yet emotive with track #1,but it won't sit still either as chords of DooM eventually awash the listener..greatly setting the Theme for rest of the album to follow..track #2,a cranium-crushing riff starts the proceedings with very tasteful Pentagramic soloing,the vocals sound pained and tortured like the very best of Leibling during those hazy/dazy seventies garage days onto track#3, starts again pretty melodic and soft..vocals are pained and a paen to lost love and eventually hope and brightness,but damn those chords of (soft)DooM just deem the thing hopelessness..a cool tribal 'planet caravan' drum thing going on here on this particular track..onwards to Track #4,Yet another cool melodic beginning although brief, leads onto more devestating power chords and volume mania,vocals maybe a bit trite,but man..when the singer croons:"Look at all the people in the Zoo"..sends a shiver up the spine!..A great riff counter acts these vocals making the affect even more..uh,effect-achieving:P..Track #5 starts with a devestating Sabbath riff,gonzoid approach here personified,the mid-section of this particular tune sports a pretty nice jam not too mention,nice bass versus guitar interplay,not mimicking the guitar riff but rather going against it...Tracks # 6,7, and 8 are to me the more shorter and anthemic tracks and the pace greatly picks up here, probably the best 3 songs in a row i've heard in a damn long time(!!!!!)...Track 8 noteworthy with it's Night Sun(without the keyboards) meets Punk-ethic meets Sabbath plow thru.
This album is a nice head-shredder and should easily appeal to the Sabbath-fan and not too mention, anybody into finding heavy lost treasures. 

This is a great album of Heavy Rock / Doom Psych with pinches essentially required in your collection that I'm sure will be part of your favorite style. I hope you enjoy, have fun!

LINK: Vinyl rip