sexta-feira, 29 de junho de 2012

Budgie: Nightflight (1981) {1993 Reissue} [FLAC]



Artist: Budgie

Album: Nightflight
Genre: Hard Rock, Proto-Metal
Year: 1981
Country: Wales
Label/Catalog: Repertoire Records/REP 4306-WZ (1993 Reissue)

Format: FLAC (image+cue+log)



PORTUGUÊS:
No fim de 1981, o Budgie, agora revigorado, lançava o 'Nightflight', seu nono álbum de estúdio com capa feita por Derek Riggs, ilustrador que se tornou reconhecido por várias de capas feitas para o Iron Maiden. Apesar de ter sido feito nos moldes do álbum anterior, o 'Nightflight' está longe de ser uma continuação do 'Power Supply', uma vez que era um pouco mais suave, mas mais sofisticado, mais melódico e agora com elementos mais evidentes do hard blues e rock clássico. Os destaques do álbum são "I Turned To Stone", "She Used Me Up" e "Superstar", que desde então passaram a serem tocadas em praticamente todos os shows da banda.

Aparentemente é o álbum mais subestimado da banda, ainda que tivesse obtido posições razoáveis nas paradas britânicas, parece que não o suficiente pra garantir seu lugar merecido na história. De qualquer forma, muito desse álbum inspirou várias bandas dos anos 80 e, além disso, pode ser facilmente considerado um dos melhores álbuns do início da década.

Infelizmente ele se encontra fora de catálogo nos dias atuais, assim como o 'Power Supply' e o 'Deliver Us From Evil', mas há grandes possibilidades de todos eles serem remasterizados e relançados pela Noteworthy Productions, tal como fez com todos os outros álbuns da banda.

ENGLISH:
In the fall 1981, Budgie, now reinvigorated, released 'Nightflight', their ninth studio album with sleeve made by Derek Riggs, an illustrator who became highly recognized for creating many Iron Maiden sleeves. Although it had been done in the veins of their previous album, 'Nightflight' is far from being a continuation of 'Power Supply', once that it was slightly smoother, though more sophisficated, more melodic and with more evident elements of classic hard blues and rock. The album highlights are "I Turned To Stone", "She Used Me Up", and "Superstar", which since then were played in practically every concert.

Appearantly it's Budgie's most overlooked album, even though it reached some fairly good positions in the British charts, which didn't just seem enough to guarantee its deserved place in history. Otherwise, much of this album influenced many 80s bands, besides it can easily be considered one of the best albums of the early 80s.

Unfortunatly nowadays it is out of catalogue, just like 'Power Supply' and 'Deliver Us From Evil', but there are great possibilities of all of them to be remastered and reissued by Noteworthy Productions, such as it had done to all the other albums.



Tracklist:
01 I Turned To Stone (6:08)
02 Keeping A Rendezvous (3:43)
03 Reaper Of The Glory (3:49)
04 She Used Me Up (3:16)
05 Don't Lay Down And Die (3:33)
06 Apparatus (2:51)
07 Superstar (3:27)
08 Change Your Ways (4:20)
09 Untitled Lullaby (1:16)

Line-up:
Burke Shelley - vocals, bass
Steve Williams - drums
John Thomas - guitars

Originally released as RCA LP 6003 in the UK in October 1981.



LINK:
https://yadi.sk/d/OSx4Mt125vjYv

Budgie: Power Supply (1980) {1993 Remaster + Bonus Tracks} [FLAC]



Artist: Budgie

Album: Power Supply
Genre: Hard Rock, Proto-Metal
Year: 1980
Country: Wales
Label/Catalog: Repertoire Records/REP 4336-WZ (1993 Reissue)

Format: FLAC (image+cue+log)



PORTUGUÊS:
Após cerca de dois anos sem lançar nada de novo, o Budgie inaugurou a década de 80 com um novo guitarrista - John Thomas - e inesperavelmente mais forte do que nunca com o 'Power Supply', seu oitavo álbum de estúdio. Apesar de estar mais de acordo com o hard rock tradicional, principalmente com o emergente New Wave of the British Metal - que tanto foi influenciado pela banda em si - o 'Power Supply' inegavelmente deu uma grande revigorada ao Budgie e é talvez o álbum mais pesado já feito pela banda. Fãs mais conservadores naturalmente ficaram com uma má impressão do álbum, enquanto que outros conseguiram ver o quanto a banda tinha se renovado e mudado para melhor em relação ao 'Impeckable', o álbum anterior. Tamanha foi a repercussão do Budgie com esse álbum que a banda se tornou merecidamente uma das atrações principais do Reading Festival daquele ano.

Além do álbum, havia também o EP 'If Swallowed Do Not Induce Vomiting' - cujas faixas foram incluídas nessa versão da Repertoire Records - lançado alguns meses antes do 'Power Supply' e que rendeu uma pequena turnê por 22 cidades inglesas e 3 galesas entre junho e julho de 1980. Para a turnê do 'Power Supply', o Budgie foi chamado para abrir os shows de Ozzy Osbourne, com seu recém-lançado álbum solo 'Blizzard Of Ozz', pelo Reino Unido entre setembro e outubro, com 26 datas na Inglaterra, três na Escócia e uma no País de Gales.

Enfim, é um álbum que eu particularmente considero essencial pra qualquer fã do Budgie, praticamente tanto quanto os cinco primeiros por marcar o início de uma nova - ainda que curtíssima - fase da banda.

ENGLISH:
After about two years without releasing anything new, Budgie stepped into the 80s with a new guitarrist - John Thomas - and unexpectably stronger than ever with 'Power Supply', their eighth studio album. Despite of showing some similarities with more traditional hard rock elements, especially with the then emergent New Wave of the British Metal movement - which felt very much influenced by the band itself - 'Power Supply' undeniably gave Budgie quite a reinvigoration and is probably their heaviest album ever made. Hardcore fans naturally may have got a bad first impression from the new albu, whilst others saw how much the band had improved and refreshed themselves in comparison to 'Impeckable', their previous album. So much was the repercussion with its release that the band became one of the main acts of the 1980 Reading Festival edition.

Besides the album, there was also the 'If Swallowed Do Not Induce Vomiting' EP - whose all the tracks were included as bonus for this Repertoire reissue - released a few months before 'Power Supply', which consequently gave the band a small British tour through 22 English and 3 Welsh cities between June and July 1980. For the 'Power Supply' tour, Budgie was called in to open Ozzy's 'Blizzard Of Ozz' UK tour, his first solo album, from September to October with 26 dates in England, 3 in Scotland and one in Wales.

Anyway, this is an album that I particularly consider essential for any Budgie fan, practically as much as their first five albums for marking the beginning of a new - although very short - era for the band.



Tracklist:
01 Forearm Smash (5:39)
02 Hellblender (3:26)
03 Heavy Revolution (4:40)
04 Gunslinger (5:02)
05 Power Supply (3:38)
06 Secrets In My Head (3:57)
07 Time To Remember (5:26)
08 Crime Against The World (5:37)
Bonus Tracks (from 'If Swallowed Do Not Induce Vomiting' EP)
09 Wild Fire (5:10)
10 High School Girls (3:35)
11 Panzer Division Destroyed (5:53)
12 Lies Of Jim (The E-Type Lover) (4:40)

Line-up:
Burke Shelley - vocals, bass
Steve Williams - drums
John Thomas - guitars

'Power Supply' album was originally released as Active Records ACT LP1 in the UK in October 1980. 'If Swallowed Do Not Induce Vomiting' EP was originally released as Active Records BUDGE 1 in the UK in July 1980.



LINKS:
https://yadi.sk/d/8dhK_joY5ArgS
https://yadi.sk/d/OXW7Z0ry7WbWX

quinta-feira, 28 de junho de 2012

Grobschnitt: Live Bielefeld 1977 - 1 & 2 (2007) [WV]



Artist: Grobschnitt

Album: Live Bielefeld 1977 - 1
Genre: Symphonic Progressive Rock, Space Rock
Year: 2007
Country: Germany
Label/Catalog: Wolkenreise/SMR 002

Format: WV (image+cue+log)


Tracklist:
01 Der Western (6:33)
02 Panik... Toni schießt mit Gas (3:28)
03 The Excursion Of Father Smith (11:26)
04 The Clown (6:57)
05 Prof. Dr. Erwin Senkellfuß (1:50)
06 Sunny Sunday's Sunset (13:29)
07 Toni und der Skisprung (6:55)
08 Bielefelder Sinfonie (26:40)

Line-up:
Eroc - drums, percussion
Lupo - lead guitar, vocals
Wildschwein - lead vocals, guitar
Hunter - bass, vocals
Mist - keyboards, vocals
Toni Moff Mollo - lightning effects, vocals

Recorded live at Jugendheim Niedermühlenkamp, Bielefeld, Germany, in 1977.





Artist: Grobschnitt

Album: Live Bielefeld 1977 - 2
Genre: Symphonic Progressive Rock, Space Rock
Year: 2007
Country: Germany
Label/Catalog: Wolkenreise/SMR 005

Format: WV (image+cue+log)


Tracklist:
01 Start (0:27)
02 Bielefelder Brutalrock (1:31)
03 Solar Music Bielefeld (5:01)
04 Skip ID @ 5 min (15:33)
05 Skip ID @ 20 min (13:37)
06 Skip ID @ 34 min (10:39)
07 Skip ID @ 45 min (10:11)
08 Der A.F. Song (9:42)
09 End (2:07)

Line-up:
Eroc - drums, percussion
Lupo - lead guitar, vocals
Wildschwein - lead vocals, guitar
Hunter - bass, vocals
Mist - keyboards, vocals
Toni Moff Mollo - lightning effects, vocals

Recorded live at Jugendheim Niedermühlenkamp, Bielefeld, Germany, in 1977.




PORTUGUÊS:
Desde 2007, Eroc, baterista e cofundador do Grobschnitt, tem lançado uma série de gravações ao vivo da banda nunca antes vistas, mas nessa série como não há álbuns duplos, shows completos são divididos em parte por cada CD diferente. Hoje temos o show completo gravado na cidade de Bielefeld, na Alemanha, na turnê de 1977, com qualidade sonora perfeita. O Grobschnitt costumava fazer longos shows e este aqui não é exceção, uma vez que tem quase 2 horas e meia de duração e, como era de se esperar, tinha 'Solar Music' - marca registrada da banda e considerada por muitos como uma das maiores obras primas do rock alemão. Em outras palavras, é totalmente imperdível pra qualquer fã de space rock.

ENGLISH:
Since 2007, Eroc, Grobschnitt drummer and cofounder, has released a series of previously unseen live recordings, but as there are no double albums from this series, complete concerts are splitted into parts for each different CD. Today we have the complete recording of a concert played in Bielefeld, Germany, during the 1977 tour, with perfect sound quality. Grobschnitt used to make very long concerts and this one is no exception, once that it lasts for almost 2 hours and a half and, as you could just expect, 'Solar Music' was even featured - the band's registered mark and considered by many as one of the greatest German rock masterpieces. In other words, it is totally unmissable for any space rock fan.



LINKS:

Grobschnitt - Live-Bielefeld 1977-1, Germany
http://minhateca.com.br/nelwizard/Grobschnitt+-+Live-Bielefeld+1977-1*2c+Germany+*40WV,475047757.rar(archive)

Grobschnitt - Live Bielefeld 1977-2
http://minhateca.com.br/nelwizard/Grobschnitt+-+Live+Bielefeld+1977-2WAVE,477874947.rar(archive)

quarta-feira, 27 de junho de 2012

Cosmos Factory - Black Hole+1 (1976, Jap, heavyprogpsych, Eastworld CDrip, single flac + cue, log, artwork)


*** Reviewed by great fellow Adamus67 ***

Cosmos Factory (named after the Creedence Clearwater Revival LP) were a fantastic Japanese heavy psych/prog crossover outfit; dated for the mid-'70s, but Japan were several years behind at this stage and probably sounded pretty contemporary to their audience. They were enormously energetic, with mad frenetic organ and guitar solos peppering their work, along with rather incomprehensible Japanese-language vocals.

Cosmos Factory – a progressive group formed in Nagoya, 1970. They moved to Tokyo the next year, acquired a manager [who was also a well-known rock critic] and got to work.
The group recorded a 4 LPs, which are among the first and most famous albums with classic prog from Japan:
"Cosmos Factory" (1973, also known as "An Old Castle of Transylvania" to see discography), "A Journey With The Cosmos Factory "(1975)," Black Hole "(1976) and" Metal Reflection "(1977). In addition, the group has released several EPs, which are now rare collectors' items. Late 70s, the band has disbanded.
The band are perhaps best known for their first album, ‘Cosmos Factory’ (a.k.a. ‘An Old Castle of Transylvania’) [Columbia, 1973], which has long been the easiest to obtain on CD. In the Ultima Thule shop catalogue it’s compared to Far East Family Band; I find this very misleading, as the only similarities I can hear are in their worst moments, ie. when they get into their cod-emotive sappy balladic crooning. Other than those bits, which take up a lot of space, it’s a pretty good to great album, with heavier bits as well as spacey and slightly ominous progressive rock reminiscent of a blend of The Nice, Arzachel and early Pulsar, with cool use of the Moog. Anyway, this album brought them a lot of recognition and they began playing support for big western bands of the era such as Humble Pie and The Moody Blues, both then well past their prime and probably overshadowed by their unique support act!

The next album, ‘A Journey With The Cosmos Factory’ [Toshiba EMI/Express, 1975], reputedly enters weirder realms and was well-received. ‘Black hole’ [Toshiba EMI/Express, 1976] is reputedly comparable to complex King Crimson in some ways. Around this time, the band also began making music for film soundtracks and TV themes. Their last album, ‘Metal Reflection’ [Toshiba EMI/Express, 1977], has a reputation for being more of a metal/hard rock thing, but it’s actually a lot more varied than that. It’s a pretty good album containing proggy hard rock, proggy metal, spacey prog, cosmic funk, a ballad, and almost omnipresent synthesisers. The production is excellent. They also released a number of rare EP’s - ‘Fantastic Mirror’ [1975], ‘The Infinite Universe Of Our Mind’ (a promo release) [1975] and ‘Days In The Past’ [1975]. The first album has been reissued on CD by Coca/Nippon Columbia; the next 3 by Toshiba EMI

The material on An Old Castle of Transylvania is pretty good, if not actually top-notch; plenty of excellent instrumental work, and some great Mellotron from Tsutomu Izumi on the opening two tracks and the bulk of side 2's title track..
However, A Journey With the Cosmos Factory takes a complete left-turn from its predecessor, with experimental tracks like The Infinite Universe Of Our Mind, all discordant avant-garde piano, with most of the material fitting more in the 'psych' than 'prog' categories. Excellent Moog work throughout, but next to no Mellotron (although loads of string synth), all I can hear being background choirs on beautiful opener Sunday's Happening. Black Hole (sensibly) returns to the style of their debut, though with a little more sophistication, and a little less Mellotron. I don't hear any other sounds than the ubiquitous strings, but they make nice use of them, so I should worry.

"Black Hole" third album, and in fact, the LP failed somewhat darker than the first two discs. At the same time the music is also a trail got tougher and earthier. This is reflected in the fact that determines the music with his electric guitar, while Izumi keyboards (organ and Mellotron) pushed somewhat into the background. In particular, the synthesizer can be heard not much - at least he is not so much the focus as never to "A Journey With The Cosmos Factory".

With the title track the album is doing very Crimson. Nestled in cutting Mellotron and swelling organ rock electric guitar and bass mixed-edged and complex. Mizutani here represents all kinds with a guitar, it sounds like Robert Fripp, times like David Gilmour and sometimes like. The play pushes heavyweight then enriched with the mysterious, sometimes screaming vocal interludes. Oddly, the piece breaks off abruptly after just 9 minutes. After the brief, organ-dominated conduction "The Vague Image" - with fripp guitar in the background - comes with "hard image", a progressive blues rockers, fitted in with grunzigem singing Japanese. "Crystal Solitaire" is then compulsory lard-ballad, but, determined by relaxing piano music, very discreet, is indeed almost beautifully turned out.

In the long "A Wandering Young Man", the group may be not quite decide between ballad and bluesy Symphoprog (Pink Floyd). The number pretty long and tough, then, provided with vocals, backing choirs huhuhu, sustained organ sounds and a long guitar solo a la Gilmour in the middle. "In Days Past" is then a slightly jazzy song with funky guitar and bass accompaniment keyboard soundscapes. Here, too, brought the exalted voice (my) European ears slightly. With "Mirror Freak" is again bleak. Mysteriously drives the music, "meditative-Asian" and a little spacey psychedelic then, supported by dense, sometimes wildly out-propelled and equipped with this time organ sounds very suitable, mysterious and imploring vocals. Sonically, the whole decorated with again reminiscent of Fripp guitar excursions, virtuoso acoustic guitar playing and monotone. Great! The final "Magic Window" is still an easy breezy Proginstrumental of the questions Mizutami Izumi and her skills on display.

This is some pretty heavy stuff and I am almost certian one of the most innovative things coming out of asia as far as music is concerned..even by todays standards...and this was nearly 30 years ago. The music is drenched in organ and hard rockin' guitars with nice bass anchoring the music and keyboards adding a moody...almost sinister overtone in some areas. Black hole is the best track, especially the ending.
Thank you so much Adam for that effort
gigic2255



Tracks:
01. Blackhole
02. The Vague Image (introduction)
03. The Hard Image
04. Crystal Solitaire
05. A Wandering Young Man
06. Days In The Past
07. Mirror Freak
Bonus track:
08. Magic Window



Cosmos Factory:

Kazuo Okamoto - Drums, Percussion
Toshikazu Taki - Vocals, Bass
Hisashi Mizutani - Vocals, Guitar, Percussion
Tsutomu Izumi - Vocals, Keyboards


Cosmos Factory - Black Hole



[Rip and Scans by gigic2255]

Link: 295 mb/file

https://my.pcloud.com/publink/show?code=XZu3MLZXlQtDKUqd7RKeX0IJJO88JOvWKRk

Gila-Gila - 1971 - Fantastic German Progressive-WAV


Ai Putada, siguinte
Este filhodaputa do blogger agora quer vender espaço nesta merda para as imagens
Só consegui colocar a capa do disco nesta bosta e se continuar assim paro de postar
Mas enfim, este é um disco que não pode faltar na sua coleção, pois alem de raro é muito bom
Então mandem bala antes que eu abandone esta merda aqui
Beijos

English

This motherfucker blogger now wants to sell space for the images in this shit
Just got to get the album cover this crap and stop if it continues to post
But anyway, this is a disc that can not miss in your collection, because besides being rare is very good

Then send bullet before I leave this shit right here

kisses

LINK: APE+scans

http://minhateca.com.br/nelwizard/Gila+-+Gila+(1971)APE,480897015.rar(archive)

or

https://www.sendspace.com/file/ux9mgo

Grobschnitt: Rockpalast (1978) [Proshot DVD - 2004 Digital Rebroadcast]



PORTUGUÊS:
O Rockpalast é um programa tradicional da emissora alemã WDR que desde a metade dos anos 70 exibe shows completos ou não de diversas bandas e dos estilos mais variados possíveis. No fim de 1978, a emissora reservou o Westfalenhalle, na cidade de Dortmund, para uma série de shows por alguns dias e, nessa ocasião, o Grobschnitt estava incluído e tocou um setlist de cerca de 80 minutos.

No fim dos anos 70, com a ascensão de estilos como punk e new wave, já estava mais difícil ainda ver uma banda progressiva na televisão, mas mesmo assim o Grobschnitt audaciosamente tocou 'Solar Music', que tinha mais de 50 minutos de duração e que estava presente em quase todos seus shows. O show em si é sem dúvida fantástico e pode ser desfrutado com as vantagens de ser uma transmissão digital. Apenas esperamos que este e vários outros shows gravados pela WDR se tornem lançamentos oficiais.

ENGLISH:
Rockpalast is a traditional programme by German TV station WDR which since the mid 70s presents full-lenght - or not - concerts from many bands of the most variable musical genres possible. In the fall 1978, WDR reserved Westfalenhalle, in Dortmund, for a concert series for a few days and for this occasion, Grobschnitt was called in to share the bill and played a setlist of about 80 minutes of lenght.

In the end of the 70s, with the ascencion of genres like punk and new wave, it had been becoming even harder to see a progressive group on TV, but otherwise Grobschnitt audaciously played 'Solar Music', a 50-minute long tune played in almost every concert. The concert itself is undoubtely fantastic and can be enjoyed with the advantages of a clean digital broadcast. We just expect that this and many other concerts taped by WDR happen to become official releases some day.




Tracklist:
01 Vater Schmidt's Wandertag (11:25)
02 Come On People (13:39)
03 Solar Music (54:32)

Line-up:
Gerd Kühn (Lupo) - lead guitar, vocals
Stefan Danielak (Wildschwein) - lead vocals, guitar
Wolfgang Jaeger (Hunter) - bass
Volker Kahrs (Mist) - keyboards
Joachim Ehrig (Lupo) - drums, tape effects, acting
Ralf Gräber - lightning effects, acting
Rainer Losskand - electronic effects, acting

Recorded live by WDR at Westfalenhalle, Dortmund, Germany, on December 8th 1978, for broadcast on Rockpalast programme. Digital SAT TV rebroadcast on May 30th 2004.



Part 1
Part 2
Part 3
Part 4


Password: micose

terça-feira, 26 de junho de 2012

Curved Air: POP2 (1971) [Proshot DVD]






PORTUGUÊS:
Embora não tenha durado muito tempo e esteja praticamente esquecido atualmente, o Curved Air foi um dos grupos progressivos britânicos mais interessantes do início dos anos 70. O som da banda era uma rica mistura de rock psicodélico com folk e um pouco de jazz-fusion, sendo uma das primeiras bandas de rock a incluir violino. Felizmente, levando em conta sua curta duração, há uma quantidade considerável de filmagens da banda, ainda que a maioria fosse ao vivo em estúdios de emisssoras de televisão.

No caso desta filmagem, ela se trata do registro de um show de fato gravado em Paris, em 1971, pela emissora francesa ORTF, que consequentemente seria editado e transmitido em seu programa POP2. Ainda que não seja o show completo, o registro já vale não só pela qualidade de som e imagem - quase que excelentes para a época - mas também pela performance em si da banda, que estava em seu auge.

ENGLISH:
Even though they hadn't lasted for a long time and are practically forgotten nowadays, Curved Air was certainly one of the most interesting British progressive groups to emerge in the early 70s. Their sound was a rich blend of psychedelic rock with rock and a little bit of jazz fusion, being one of the very first rock bands to feature a violin. Fortunatly, bearing in mind their brief carrer, there's a fairly good amount of footages, even if most of them were live on some TV station studio.

As for this footage, this is the capture of a live performance in fact played in Paris, in 1971, recorded by French TV station ORTF, which would be consequently edited and broadcast on their POP2 programme. Although it didn't feature the complete concert, it is very worth watching not only for the image and sound quality - nearly perfect for their age - but also for the band's stunning performance itself, probably capturing the best of the band's peak.



Tracklist:
01 Back Street Luv
02 Propositions
03 Vivaldi

Line-up:
Sonja Kristina - vocals, keyboars
Darryl Way - vocals, electric violin
Francis Monkman - guitar, keyboards
Robert Martin - bass
Florian Pilkington-Miksa - drums

Recorded live by ORTF at Olympia, Paris, France, on July 3rd 1971, for broadcast on POP2 programme.



Part 1
Part 2

Password: micose

domingo, 24 de junho de 2012

Taste Of Blues - Schizofrenia (1969, Swe, bluesy psychrock, Garageland Record vinyl rip, single flac + cue, DR10, artwork)


*** Reviewed by great fellow Adamus67 ***

The real “Psycho Monster”. Swedish psychedelic underground classic late – 60 of these to measure team debut: International Harvester, Mack Mecki Men and Panta Rei, just a little detail … they did not gained the international recognition of That bands, they stay in the underground circuit but they sounds like nobody! The formation from Malmo …This is Swedish psychedelic underground late ’60s – that should do it as a recommendation. It is worth checking Taste of Blues even for the legendary, the first song, which is an epic journey lasting seventeen minutes in the company of cosmic sounds, brass, absolutely mega-groove’?cych rhythms, with the parties Farfisa organs, violins, flute, saxophone with guitar solos, unconventional game for its time, a little sound of the German krautrock with Eastern motifs Laced an amazing hypnotic psychedelic workout with similarities to Germany’s CAN at Their Peak … swirling buzzing head-trips overlayed by throbbing pulsating rhythms and steady drumming beats …ah Vodoo hypnotic spell: A metronomic journey full of Hawaiian guitar sounds, spacey effects, groovy jazz-sax, flutes … and the weight of the instruments which I can not even call..in short, a hysterical and apocalyptic go-go dance, not to be missed

I love the feeling of drummer on the album, and I think of the many pieces you can cut perfect loops for hip-hop bits. Let me also mention the great organ Hammonda, because that is precisely what most often digs gourd in music of the era.

The only person who knows the English was a black American, Don Washington, which gives the production a little negro, soulowego taste (especially in the interpretation of the song Another Kind of Love, which the original was played by John Mayhalla) perfectly fit into the psychedelic band the burden of one album which was released in Denmark in 1969 Produced by Borje Nilsson..is certainly hard enough to find, the 42 + original on the small SSR Records (SSRLP 501) goes fore a fortune ($ 800 +) … reproduction on Garage Land Records 634

Pity that the duration of the LP is only 32:59
Drummer (P.Erixson) and organist (C.Ericsson) performed later in the band Asoka …. [C.Ericsson and 70's band Lotus.]
Thank you so much Adamus67 for that effort

Their album belongs to the pure underground psychedelic sixties cult classics of Sweden, along with (International) Harvester and Mecki Mark Men. The title track on their album Schizofrenia was one whole side of repetitive voodoo rhythms (resembling the early style of Can) with eerie Farfisa organ tones (a la Richard Wright's early style circa 1967-68), flute, violin, sax and guitar playing successive solos, both pre-planned and improvised. A spellbinding example of Swedish krautrock! The remaining tracks were more conventional and blues-based, including a version of John Mayall's "Another Kinda Love". The black American Don Washington provided the vocals. Both Ericsson later played in Asoka.
(~rockin-hood)

TASTE OF BLUES - What Kind Of Love Is That (1969)


Tracks:
side one:
A1. Schizofrenia
side two:
B1. A Touch Of Sunshine
B2. On The Road To Nidaros
B3. Another Kinda Love
B4. Another Mans Mind
B5. What Kind Of Love Is That

Taste Of Blues:
Robert Moller - bass
Patrik Erixson - drums
Don Washington - singer
Rolf Fredenberg - guitar
Claes Ericsson - organ, violin

[Rip and Scans by gigic2255]

Link: 207 mb/file | 3% recovery

LINK CD rip:
http://www.mediafire.com/download/gpqrb1f5p864trf/Taste+Of+Blues+-+Schizofrenia+%281969%2C+-2010+%29.rar

sábado, 23 de junho de 2012

T2 – T.2. (UK-70`s, progpsychrock, Essex vinyl rip, single flac + cue, DR8, artwork)



*** Reviewed by great fellow Adamus67 ***

Peter Dunton (drums, lead vocals and songs) left the Gun to join up with Keith Cross (guitar and keyboards) and Bernard Jinks (bass), both from Bulldog Breed. They soon found a strong musical rapport and, after less than a week of rehearsals, they started a residency at a club in London's West End.
By their third gig, the club was packed, and the producers from four major record companies and three TV and Radio programmes were there to check them out. This led to a recording deal with Decca Records, the release of "It'll All Work Out In Boomland" and several TV and radio appearances later in the year.
It seemed that nothing was left after the band - and what a surprise! In 1998 the British company released a CD of Essex from unpublished material, the second album! The content is simply sensational - perhaps not even better than the official album! All this works premiere. This second T2 album ''Fantasy", had it been released in 1970, could have put the band on the same level of fame with the likes of Deep Purple, Free, and King Crimson (bands with whom T2 shared a stage). It's hard-driving opener `Highway, 'ablaze with wailing guitars, gives way to moody introspection, culminating with the LSD induced finale T2.

God, what an emotion. What a musician. To think that this album did not go beyond the form of acetate, because the record company rejected the material prepared by T2.
The first album showed the band as a unique phenomenon. Three young musicians. Little experience in studio work. Seventeen exceptionally talented guitarist Keith Cross. A brilliant drummer, composer and singer in one person, that is, Peter Dunton. Equally great bassist Bernard Jinks. Word of monolith. Everyone (especially the bassist and drummer) with some musical experience. The group, which was certainly not epigone. On the contrary, talent, imagination, sense of style rock and executive skill to shame many a contractor from the top.
Unfortunately, life is terribly unfair. Something went wrong. Again, after the case collapsed hopeless Decca Records. Although the team was a big sensation concert, but what if the label is not enough copies of the extruded 'It'll All Work Out In Boomland' by which the public had limited access to purchase the debut album. Soon after he separated from T2 Keith Cross, apparently frightened confusion about his person - was hailed as the new guitarist Eric Clapton.

But before there was a split of this great group, they managed to record the material discussed here on the second LP. As already mentioned, the record company has perhaps had hearing problems and the disc never came. That is revealed ... twenty-seven years later. Good and this is because thanks to this classic rock fans can check out this masterpiece. As a whole zgrano of acetate, in many places is heard louder or quieter szumki like the typical, ripped vinyl record. I think though that the Essex plant performed a miracle, because the recording sounds great and very clear. In fact, immediately forget about all the flaws, which they sometimes do not exist. Fantastic work done.
As for the content of music, many people say that 'Fantasy' presents an even higher level than a famous debut. In fact, without any doubt this is true. If such a thing is possible at all.
In contrast to the 'It'll All Work Out In Boomland' here we have a shorter compositions, but it is a larger load of expression. This does not mean that there was an improvisation and that is not all the dramatic twists and turns. Of course, that is all, but that closed in shorter forms. In addition, the trio introduced their music mellotron, which on the one hand the music adds dignity, on the other hand introduces an element of melancholy. Therefore, the second album is more reflective of, and so very happy in expression of the first LP... describe briefly a few selected compositions, and this is much harder for me than the vague (but written from the heart) reviews.

Without hesitation, I will show song 'Careful Sam'. Multithreaded and exceptionally beautiful recording consisting of three segments. It starts like a simple acoustic song. A very fine song. Suddenly emerges mellotron and composition turns into a full nervous tension under the skin, piercing rock assault the senses. Prym guitar leads, of course. Keith Cross in the highest degree mastered the ins and outs of the instrument. Playing with great finesse and sensitivity. After wirtuozowsku, but without the gimmicks. Instead of feeling. At the very end of the band speeds up the pace and played in unison finale excitement back to the zenith. Only six minutes to play.
This is the essence of style T2.

There are also two beautiful, ethereal, full of thoughtful ballads 'Timothy Monday' and 'The Minstrel'. The first recording, in the main part grew out of folk-rock influences, was disturbed by sudden transitions with two heavy-rock full of turmoil. The second composition was decorated with the party melotronu. Indescribable beauty. But without pathos. Without undue sentimentality. Just everything is expressed as sound.

For a variety of recordings such as 'Highway' or 'CD' have overwhelming firepower. This is a heavy-rock at its best. However, while the 'Highway' to ride without holding based on a brief electric guitar riff, while in the middle of the 'CD' appears calmer jazz theme. It is hard to imagine a better play. Sharp as a razor, and at the same melodic and original. Another thing that the group even for a moment does not spare neither himself nor the instruments.
This is a wonderful clamor is something of the poetry. But this music is like poetry. Still exciting, warm and clear sound after all those years it's like a time vehicle.
There are two recordings, but the description I am not able to. After that, let it be a total unknown, and perhaps an incentive for someone to reach for this unique album.
T2 deserves to be discovered.

Thank you so much Adam for that effort
gigic2255


T2 - Highway


Tracks:
side one:
A1. Highway
A2. Careful Sam
A3. Timothy Monday
A4. CD
A5. The Minstrel
side two:
B1. Fantasy
B2. T2

T2:
Peter Dunton - Vocals, drums, accoustic guitar, mellotron
Keith Cross - Electric guitar, electric piano
Bernard Jinks - Bass guitar

[Rip and Scans by gigic2255]

Link: 257 mb/file | 3% recovery

Click

quinta-feira, 21 de junho de 2012

Flowerz - Flyte (1967-68, US, garage, Arf!Arf! CDRrip, single flac + cue, log, artwork)


The third in a four album series from Arf! Arf! Records highlighting 60s garage bands from eastern Pennsylvania; `Flyte' is a representation of the live show put on by a Reading-based band named The Flowerz. To be more specific, the recording contains the complete set played by the band at Albright College on Friday, February 16, 1968. A total of 21 songs were played; 16 covers and 5 originals. With few exceptions (Link Wray's `Rumble' and Bert Kaempfert's `Wonderland by Night'), the material was decidedly contemporary. As one would expect from a college show at that time, the crowd wanted to dance to music they knew. And, the set list assured that outcome containing hits by The Doors, The Lovin' Spoonful, The Byrds, to name but three. (I have to say, I was surprised that `Good Lovin' wasn't here). We also get an added bonus as some of the DJs on WXAC - the college FM station - are heard doing intros and outros for the songs, as well as running a dance contest. This includes the dulcet tones of some Brit chick on staff that is so absolutely apropos for this point in time! It's also a time - at least in retrospect - of transition for radio. This is an FM station and while the hyper-helium chatter of Top 40 AM isn't apparent, the shift to the laid back, album track format is still a distance off.

But, it is not a recording of the show. Instead, on first blush - that is to say, before I read very, very good liner notes by producer Erik Lindgren - I reacted to the clearly different sound of the songs versus the commentary by saying, "Oh my God, another faux live show is being foisted off on me."

This is, however, a case of `No Harm/No Foul." Lindgren is quick to provide an explanation; namely that the band and recorded its planned set ahead of time with the intention of playing live along with the tape so as to boost the volume and impact of the performance. This application of the Sound-on-Sound technique used by Phil Spector when he recorded may or may not be unique. I've never heard of its use before and this album was put together by Lindgren - who tells us what it is.

So, after much explanation, what do we have here?

Well, I'll suggest it's a good performance by a band that had a number two hit in Reading with "I Need Love,' a band penned song that is on the CD. I say good because I have no way to rate the performance against another by the band. The vocals are a bit thin, but that may be due to my unfair comparison with the original artists. The lead singer probably was in his teens - as more than likely were the rest of the band - so the lack of authority might have been inexperience or youth. It's also the case that many of the songs seem hurried in their presentation. Ray Davies of The Kinks - a song by that band being included in the set - writes and speaks of how the group would, out of nervousness, rush through them songs at breakneck speed. I get that from some of these cuts and that's odd because the band were recording in a studio over an extended period so rehearsal and repeats and even editing were available. But, it's also the case that by the end of the decade the band - just like the summer of love - was gone; so maybe this basically sound but nothing outstanding performance is what they were like all the time.

Now, let me stipulate that I can and do listen to this stuff ad infinitum or - as my wife would suggest - ad nauseum. And I try to keep my criteria for commentary around the quality of the performance, not of the recording technology. That being the case, I like this album, particularly what they do with `Bend Me, Shape Me,' `He Was a Friend of Mine' and `Do You Believe in Magic.' On these songs, as well as their own material, they show a good feel for the softer side of rock 'n' roll. This leads me to perceive these guys as more like The Association, The Grassroots or even The American Breed

The harder, more raucous and attitude-laden songs aren't delivered as well; though as mentioned, coming up to the standards set by Paul Revere and the Raiders (Ups and Downs); The Stones ("Let's Spend the night Together') and The Kinks ("All the Day and All of the Night') might be asking for too much. The instrumentals are - with the exception of the aforementioned `Rumble, which is done in a way that I can only describe as "odd" in that it is quite devoid of anything threatening (it's about a street fight, for God's sake!) - classic examples of what was, for a long time, a lost genre. (I'd argue that Rave music is a descendant of what is on here.) The last cut, `Saturday Morning', is a particularly good example of setting a mood while also allowing band and audience to cool down.

All in all Flyte is worth the investment to capture - or recapture if you're my age - what music we liked to hear in the mid to late 60s and, maybe most importantly, what we danced to.
(~amazon) By Jersey Kid



Flowerz - Flyte


Tracks:
01.I Need Love Now
02.Talkin` About Love
03.Flyte
04.Ups And Downs
05.Hey Joe
06.Under My Thumb
07.It`s My Life
08.Come On Down To My Boat
09.Let`s Spend The Night Together
10.Heart Of Stone
11.Gimme Some Lovin`
12.Bend Me Shape Me
13.Light My Fire
14.Wonderland By Night
15.My Sad Story
16.All Day And All Of The Night
17.Do You Believe In Magic
18.Rumble
19.He Was A Friend Of Mine
20.Little Latin Lupe Lu
21.WXAC Concert Report
22.Saturday Morning

Flowerz:
Mike Lecce - lead guitar, vocals
Jim Leinbach - drums, vocals
Bill Sheffer - keyboards, vocals
Larry Skillman - bass, vocals
Jeff Stout - vocals, percussion
Barry Tucci - rhythm guitar, vocals

[Rip and Scans by gigic2255]

Link: 335 mb/file | 3% recovery

Click

domingo, 17 de junho de 2012

Gong: Live au Bataclan 1973 (1990) [FLAC]




Artist: Gong

Album: Live au Bataclan 1973
Genre: Space Rock, Psychedelic Rock, Progressive Rock, Jazz-Fusion
Year: 1990
Country: France
Label/Catalog: Mantra Records/MANTRA 025

Format: FLAC (image+cue+log)



PORTUGUÊS:
Em paralelo ao Hawkwind, o Gong foi uma das maiores e ainda é uma das mais cultuadas bandas de space rock nos anos 70. Não apenas uma banda e sim uma comuna hippie, o Gong foi formado na França em 1968 pelo australiano Daevid Allen - ex-integrante e um dos fundadores do Soft Machine - e sua esposa Gilli Smyth e tem como suas obras seminais a série 'Radio Gnome Invisible', que se consiste em três álbuns ('Flying Teapot', 'Angel's Egg' e 'You').

Este álbum ao vivo foi gravado no Bataclan, em Paris, em maio de 1973, mais ou menos coincidindo com o lançamento do 'Flying Teapot'. Certamente pode ser considerado uma ótima escolha pra quem ainda não conhece a banda por ser um show totalmente impecável, além de ser muito bem gravado. Apesar de relativamente curto, a gravação preenche o CD quase que por inteiro e merece ser ouvida de cabo a rabo.

ENGLISH:
Alongside Hawkwind, Gong was one of the leading and still is one of the most praised 70s space rock bands. Not being just as band, but also a hippie commune, Gong was founded in France in 1968 by Australian musician Daevid Allen - former and cofounding member of Soft Machine - and his wife Gilli Smyth and has as its seminal masterpieces all the albums from the 'Radio Gnome Invisible' series, which consists in three parts ('Flying Teapot', 'Angel's Egg', and 'You').

This live album was recorded at Bataclan, Paris, in May 1973, much likely to coincide with the release of 'Flying Teapot'. It may certainly be a nice choice for who still doesn't know anything of the band for being a completely outstanding performance. In despite of being relatively short, the recording nearly packs the CD to its limit and deserves to be carefully and intensively listened.



Tracklist:
01 Introduction - Tout Va Bien (1:28)
02 Dynamite - I'm Your Animal (17:04)
03 Tic Toc (5:52)
04 Taliesin (6:58)
05 Inside Your Head (4:43)
06 You Can't Kill Me (7:04)
07 Flute Salad (4:26)
08 Pussy (5:55)
09 Radio Gnome I & II (7:00)
10 Flying Teapot (9:36)
11 Wet Drum Sandwich (Encore) (6:39)

Line-up:
Daevid Allen - vocals, guitars
Gilli Smyth - vocals, space whisper
Tim Blake - synthesizer
Steve Hillage - guitars
Mike Howlett - bass
Pierre Moerlen - drums
Didier Malherbe - saxophone, flute

Recorded live at Bataclan, Paris, France, on May 1973

LINK;

https://www.solidfiles.com/v/53kVa75VAkA2x

Pink Fairies - Pleasure Island - Ultra Rare -WAV



A Post from OldBitch and Adamus67
Our Specialist in Classic Rock From Poland

Ai putada agora fudeu
Um dos mais raros cds do Pink Fairies, eu o comprei em um leilão na internet
Contando apenas com Twink e Sanderson da formação original é um fantastico disco
Começando com As Above, So Below bem no estilo do grupo, vai indo com suas músicas psicodélicas até chegar na incrível Casgoe in Jamaica uma música instrumental com mais de 30 minutos de solos ensandecidos de guitarra
Então fodam-se ai baixando esta maravilha que voce não vai encontrar em nenhum lugar da internet
Beijos
English
Hey your fucking freaks, now the home is going down

One of the more rarest CDS of  Pink Fairies, I bought at an auction on the Internet
With only Sanderson and Twink of the original is a fantastic album
Starting with As Above, So Below and in the style of the group are doing with your music until you reach the incredible psychedelic Casgoe In Jamaica an instrumental music  with more than 30 minutes of crazed guitar solos

So fuck you downloading this wonder that you will not find anywhere the internet

kisses
  
Adamus67 Part

Thanks A Lot  my friend  Adamus67  For Your Collaboration

Twink Pink Fairies  from London's Ladbroke Grove area, The history was long...
In August 1969 The Deviants went on a tour of the USA and Canada. Their leader was Mark Farren, section chief of the British anarchist party White Panther Party, and later a journalist NME. During the tour had been poured out Mike Farren, who returned to England, and together with the Twinkie and Steve Tookie (ex-Rex) have made a few appearances under the name The Pink Fairies. The first such concert took place in October 1969 in Manchester University. The name was taken from a motorcycle gang, in which we all went. This was to be an underground supergroup based on the principles of partnership. Mike Farren sang, played guitar Took and Twink perkusił. Girl Twink, Silver Darling play the keyboards, which also gave the bass. The first gigs were so amazing that they actually were not. Announced the group, and then strum a jam, and ended up talking in the audience. It ended in November 1969. In addition to these concerts strange Farren, Took and Twink were working on solo album Farren Mona The Carnivorous Circus.
In the early 1970's Twink understood that nothing will reach the court and in March 1970 formed a new group of musicians based on The Deviants, who also helped in the recording Farrenowi solo album Mona Carnivorous Circus. Twink captures three musicians exploded The Deviants, Farren and gets rid of the composition of The Pink Fairies stabilized.
In January 1971 the single issue of The Snake / Do It. In the May 1971 issue the first album Never Never Land for Polydor. The team plays in the composition of Russell Hunter (drums), Paul Rudolph (guitar, vocals), Duncan Sanderson (bass, vocals), Twink (vocals, drums). Album produced Twink and Neil Slaven. The demo consisted of 10 tracks. It was not anything special. Critics have passed them to the dying psychedelia. The interesting thing was just part contains two professional drummers, but Twink served as lead singer. The two songs they played at Glastonbury, Do It (later recorded by Rollins Band) and 20 minute version of Uncle Harry's Last Freak-Out. As the album did not catch on in 1971 Twink colleagues said goodbye after a visit to Morocco, he settled in Cambridge.

The remaining trio has recorded the 1972 album What A Bunch Of Sweeties with the help of vocalist and guitarist Trevor Burton, known for The Move. Polydor album released in July 1972. The band has recorded, among others, cover of The Beatles, I Saw Her Standing There. No racial singer and weak instruments meant that the album was not the best, but ironically, though perhaps not the best word, entered the British charts (# 48). The same year, Rudolph left the group to play with Hawkwind and was replaced by Mick Wayne from Junior's Eyes. Group in November released a single, Well Well Well / Hold On, but without success. In 1973 they recorded another album, but instead he was playing Larry Wayne Willis (guitar, vocals, ex-Blodwyn Pig, UFO). Album Kings of Oblivion came out of a Polydor in June 1973. With Willis things have gone better, because he wrote almost all of the material and knew how to sing. As a result, this album has collected good reviews.

In 1974 the band ceased to exist. Names of The Deviants and Pink Fairies, however, occasionally popping up at various meetings of members of these teams. For example, in 1977 they released EP Supported by a team Mike Farren & The Deviants, which produced Willis, and line up consisted of Rudolph and Andy Colqhoun (the Warsaw Pact).
Cambridge period he spent on the game with various bands, including Last Minute Put Together Boogie Band, in which American singer Bruce Payne, known for his performance in the original American version of the musical Hair. The musicians have taken place with the joint cavity Sydem Barrett.
Working with Barrett Sydem arranged on so well that Twink and Syd founded his own band The Stars. Apart from a few public appearances, but nothing came of it.
The Stars led defeat Twink transfer to London. This period was full of different musical events, with the greatest success, however, were occasional appearances with Hawkwind.

The decision was made to reactivate The Pink Fairies. They took her, Twink, Rudolph, Wallis, Hunter and Sanderson. For this reason, Polydor released in July 1975 a compilation of previously recorded three albums. From the only group show at London's Chalk Farm Roundhouse, born live album Live At The Roundhouse, however, only released in June 1982. Play together, but would end up at one gig, which lasted about 6 months, Twink because he had a car accident which sidelined him from life for a while.
The rest went on, but they did not go completely. In September 1976 they released the single Between the Lines / spoiling for a Fight. That's it. Held a farewell tour in 1977. They played the Sanderson, Wallis and Hunter. Then they came to Martin Stone (ex-Chilli Willi And The Red Hot Peppers). played a little time and
 officially disbanded in 1977 or 1978.
In 1984, Wallis published a mini-album with the Previously Released Sanderson and George Butler (The Deviants), Supported by The Pink Fairies.
In 1986 he returned to recording solo single, releasing his own record label Apocalipstic for Twink. He appeared in TV series Allo Allo, David Copperfield and Chocky's Challenge.
Also in 1986, was reborn again with the band The Pink Fairies. The line up consisted of Wallis, Sanderson, Hunter, Twink and Colqhoun. Without Rudolph, but Wallis recorded their album Kill 'Em' N 'Eat' Em, released in October 1987, after which they disappeared from the scene for good. At concerts he met band members Twink Plasticland.
In 1989, cooperation with Plasticland. Recording the album You Need A Fairy Godmother.
Twink recorded as The Pink Fairies with Paul Rudolph. In 1996 they released album, Pleasure Island, and in 1997 the album No Picture.
Very good Pleasure Island 1996 Pink Fairies reunion effort,this title was released by drummer Twink's own label,Twink Records of a limited edition of 1,000 copies. So,obviously 'Pleasure Island' is often hard to find. Don't think it's ever been reissued after that. Looks like 'Pleasure...' has just just two players, of Twink-drums and Paul Rudolph-bass&vocalist. Couldn't tell you if anyone else appeared on this CD or not. 'Pleasure...' is some fine psych/raw punk with an edge to it. "As Above,So Below" is basic well played '70's rock and roll revived. I found "Man With A Golden Gun" to be somewhat refreshing and "Jungle Drums" shows you,just what Twink is truly capable of. For a true mind-blower,put on the headphones to fully experience the 32-minute "Cargoe In Jamaica".

no passwd
LINK:
http://minhateca.com.br/nelwizard/Pink+Fairies-1996-Pleasure+Island,485966847.rar(archive)

Tangerine Dream: Tangerine Tree Volume 30 - Reims 1974 (FM) {Semi-Official Bootleg} [FLAC]



Artist: Tangerine Dream
Album: Tangerine Tree Volume 30 - Reims 1974
Genre: Electronic Music, Ambient Music, Krautrock
Year: 2003
Country: Multi-National
Label/Catalog: None
Format: FLAC



PORTUGUÊS:
Dado o sucesso do Phaedra, o quinto álbum de estúdio e o primeiro lançado pela Virgin Records inglesa, em fevereiro de 1974, o Tangerine Dream fez sua primeira turnê pelo Reino Unido entre outubro e dezembro daquele ano. Após o fim da turnê, havia um show extra para ser feito na Catedral de Notre-Dame de Reims no dia 13 de dezembro, que parece ter sido o primeiro show da banda em catedrais.

Esse show foi feito para uma platéia de cerca de 6.000 pessoas e foi completamente transmitido e documentado por alguma rádio francesa. A melhor gravação que se tem notícia desse show se tornou o volume 30 da série Tangerine Tree e foi obtida e remasterizada a partir do bootleg 'Live! Improvised!", lançado no início dos anos 90, que originalmente já possuia uma qualidade sonora quase perfeita.

Uma vez que até o fim dos anos 70 os shows do Tangerine Dream se constituíam basicamente improvisações, este show contém duas longas seqüências de aproximadamente 37 e 46 minutos respectivamente. Uma grande pena esta gravação não ter entrado para o catálogo oficial do Tangerine Dream, tal como ocorreu com algumas gravações da série Tangerine Tree. De qualquer forma, essa gravação pode ser facilmente considerada uma das melhores de toda série.

ENGLISH:
Given the sucess of Phaedra, the fifth studio album and the first released by British Virgin Records, way back in February 1974, Tangerine Dream did their very first UK tour between October and December of that same year. After the end of the tour, there was an extra concert to be held at Notre-Dame de Reims cathedral on December 13th, which was probably their very first concert in cathedrals.

The band played in front of an audience of about 6,000 people and was completely broadcast and documented by some French radio station. The best known recording of this concert became Tangerine Tree series' volume 30, which was obtained and remastered from the silver bootleg 'Live! Improvised!', released in the early 90s and that originally had an outstanding sound quality.

Once that until the end of the 70s Tangerine Dream concerts were basically made from improvisations, this one features two long sequences of approximately and respectively 37 and 46 minutes each. A great pity that this recording wasn't included on Tangerine Dream official catalogue, such as happened with several Tangerine Tree volumes. But otherwise, this recording can be easily considered one of the best out of the whole series.



Tracklist:
DISC 1
01 Part 1 (46:29)
DISC 2
01 Part 2 (37:45)

Line-up:
Edgar Froese - Mellotron 400, Mellotron Mark 5, Farfisa 400 double keyboard organ, Farfisa electric piano, VCS3 synthesizer with EMS sequencer and EMS keyboard, Moog sequenzer
Chris Franke - Modified AKS synthesizer (EMS), Elka electronic string organ, two Moog 300 P synthesizers with touch keyboards (EMS), ARP 2600 synthesizer with keyboard, Moong sequenzer
Peter Baumann - Farfisa double keyboard organ, Farfisa organ (professional model), Fender Rhodes electric piano, Mellotron 400, Elka electric string organ, two AKS synthesizers with touch keyboards (EMS), ARP 2600 synthesizer with keyboard, Moog sequenzer

Originally released as 'Live! Improvised!' (Oh Boy/OH BOY 2-9159) in 1992
Remastered, repackaged and re-released as Tangerine Tree Volume 30 in August 2003



DOWNLOAD

Password: micose

Daemon - The Entrance To Hell (70-71 post Atomic Rooster / pre Hard Stuff, Kissing Spell CDRrip, single flac + cue, log, artwork)


As Gustafson points out in his August 2007 LET IT ROCK interview, the Daemon stuff never saw an official release, so when you find a set that claims to be just that...you have to throughly examine it. This group was supposed to be a post-Atomic Rooster / pre-Hard Stuff lineup that John Gustafson says he was never in. They were more than likely named after the 5 episode serial of a Doctor Who storyline; broadcast May 22–June 19, 1971. First off; this disc is titled DAEMON - THE ENTRANCE TO HELL 1971-1972, and has it's own 'authentic' cover. That is to say it was genuinely released in 2006 on Kissing Spell Records.

One can quickly determine that he majority of this material was released as Hard Stuff on their BULLETPROOF album ...which means we're NOT talking about a different lineup. That is to say there is another band's album being bootlegged here! They all have the same titles as released on BULLETPROOF, except "Fortune's Told" which was released under the name "Hobo". These recordings are identical in their performance, with incredibly minor production variations. Nothing like 'more echo on the vocals', 'a new ending' or 'a previously unheard organ part'; we're talking about played through a different set of speakers. The EXACT same songs. In other words; go with the Hard Stuff album, and just add the few unreleased tracks as bonus material. This actually brings the whole 'Daemon session before Hard Stuff was formed' into question as in; does it even exist?

Of this material, there are two 'sound effects' of a door opening and closing with tracks 1 & 16. So, only tracks 5,6,7,8,11,17 are 'new' material. But then we quickly decipher that "The Orchestrator" was the B-side to Hard Stuff's 1972 "Jay Time" single (a welcome addition, no doubt), which is obvious from the difference in the way it sounds compared to the tracks it's sandwiched between. These two tracks ("Entrance To Hell" and "Hell - Demonic Possession") are in-studio jams that are so loose they could be by anybody, and frankly; detract from the whole proceeding. There is another one of these in track 11, that's the best of these jams...but it doesn't approach the quality of the actual songs. That leaves the 7:08 long "Jam - The Provider"; which is actually the entire jam that the 1:53 "The Provider" on BULLETPROOF was taken from (another excellent addition). "Evil Maker" is the only track that remains, and it's a slow (nearly acoustic) Country influenced boogie number with stumbling drums and other indicators that this is a fledgling demo that needed work.

That leaves us with an excellent B-side and an unreleased complete studio take from the Hard Stuff sessions, three 'jams' that don't reveal anything (and hardly sound like the same group) and a slow boogie outtake that needed work (hence it's not being on the Hard Stuff album). My assessment: 1) there are only two tracks worth having 2) it's NOT Daemon and 3) sounds better elsewhere. Get this if you need the 2 good tracks, but definitely track down Hard Stuff's BULLETPROOF album if you want this material.
(~7-floor) sambson said...

Daemon - Jam-The Provider


Tracks:
01. Doors Opens 0:08
02. Millionaire 6:06
03. No Witch At All 5:39
04. Taken Alive / Amyl Nitrate 3:15
05. Evil Maker 5:39
06. Entrance To Hell 4:30
07. The Orchestrator 3:27
08. Hell - Demonic Possession 10:08
09. Fortune's Told 3:32
10. Sinister Minister 3:34
11. Jam 1:40
12. Time Gambler 6:14
13. Monster In Paradise 4:37
14. Jay Time 2:53
15. Mr Longevity 4:39
16. Door Closes 0:07
17. Jam - The Provider 7:08

Daemon:
Al Shaw: Vocals & percussion
Paul Hammond: Drums
John Gustafson: Bass & vocals
John Du Cann: Guitar & vocals

[Rip and Scans by gigic2255]

https://www.mediafire.com/?k4erljackn33eks

sábado, 16 de junho de 2012

Embryo: Opal (1970) {1997 Remaster + Bonus Tracks} [FLAC]




Artist: Embryo

Album: Opal

Genre: Krautrock, Psychedelic Rock, Jazz-Fusion
Year: 1970
Country: Germany
Label/Catalog: Materiali Sonori/MASO CD 90012

Format: FLAC (image+cue+log)



PORTUGUÊS:
Com sua vasta discografia, Embryo é considerada uma das bandas alemãs mais ecléticas do movimento do krautrock por mesclar diversos elementos de rítmos tribais e étnicos de diversos países em sua música. Sendo assim, o Embryo se tornou muito mais do que uma banda, um coletivo que já reuniu mais de 400 músicos do mundo inteiro e continua na ativa até hoje sendo liderado por Christian Burchard desde o início. O Opal, o primeiro álbum da banda, foi lançado em april de 1970 pela recém-fundada Ohr, o selo alemão especializado em música experimental de maior reconhecimento. Neste álbum, há uma mistura de jazz-fusion com elementos psicodélicos que se assemelha com bandas tipo Xhol Caravan.

ENGLISH:
Alongside their vast discography, Embryo is considered one of the most ecletic German bands that emerged from the krautrock movement for creating a rich blend of tribal and ethnical rythms from many countries into their sound throughout their existence. Consequently, Embryo became much more than a band, rather a collective which already gathered over 400 musicians worldwide and are still active and leaded by Christian Burchard since their first days. Their debut album Opal was released on April 1970 by recent-formed Ohr, the most recognized German record label especialized in experimental music. On this albu, there's a mixture of jazz-fusion with psychedelic elements which is somewhat similar to bands like Xhol Caravan.



Tracklist:
01 Opal (2:41)
02 You Don't Know What's Happening (4:48)
03 Revolution (4:32)
04 Glockenspiel (5:04)
05 Got No Time (1:30)
06 Call (3:31)
07 End Of Soul (4:08)
08 People From Out The Space (7:31)
Bonus Tracks
09 You Better Have Some Fun (2:35)
10 Läuft (26:30)

Line-up:
Christian Burchard - drums, vocals
Ralph Fischer - bass, vocals (tracks 1 to 8)
Edgar Hofmann - saxophone, flute, percussion
John Kelly - guitar, vocals
Guest musicians
Bettsy Alleh - vocals
Roberto Detrée - motocello
Lothar Meid - bass (tracks 9 & 10)
Holger Trülsch - bongos

Originally released as Ohr OMM 56.003 on April 1970



LINK: https://www.mediafire.com/?hmpbjrq2b6i02ic

http://minhateca.com.br/nelwizard/Embryo+-+Opal,443409944.rar(archive)

sexta-feira, 15 de junho de 2012

Änglagård: Buried Alive (1996) {Live Progfest '94} [APE]



Artist: Änglagård
Album: Buried Alive
Genre: Symphonic Progressive Rock
Year: 1996
Country: Sweden
Label/Catalog: Musea/FGBG 4167.AR
Format: APE (image+cue+log)



PORTUGUÊS:
Apesar da legião de fãs que o Änglagård conseguiu atrair durante sua curta existência, a banda - que felizmente voltou à ativa recentemente - somente lançou dois álbuns de estúdio e este ao vivo gravado durante o Progfest '94, um festival feito em Los Angeles que reunia bandas progressivas quase que recém-formadas. Este álbum contém o show completo do Änglagård, que por sinal foi muito bem gravado. O show também foi filmado, mas somente algumas poucas faixas foram lançadas em uma coletânea do festival em VHS e DVD.

ENGLISH:
In despite of a strong fan-following that Änglagård managed to attract during their short existence, the band - which is fortunatly and recently back - only released two studio albums and this live album recorded during Progfest '94, a festival in Los Angeles that gathered the then newest progressive rock bands. This album features Änglagård complete concert and it was very well recorded by the way. There is also a proshot video, but just a few tracks were officially released as they appear in the festival compilation VHS and DVD.



Recorded live at Progfest '94, Variety Arts Centre, Los Angeles, United States, on November 15th 1994.

Tracklist:
01 Prolog (2:20)
02 Jordrök (11:46)
03 Höstsejd (14:03)
04 Ifrån Klarhet Till Klarhet (9:03)
05 Vandringar I Vilsenhet (13:07)
06 Sista Somrar (9:21)
07 Kung Bore (12:34)

Line-up:
Mattias Olsson - drums, percussion
Johan Högberg - bass
Thomas Johnson - Hammond, mellotron, keyboards
Jonas Engdegård - guitar
Tord Lindman - guitar
Anna Holmgren - flute



DOWNLOAD

Password: micose

terça-feira, 12 de junho de 2012

Alice Cooper - Billion Dollar Babies Deluxe Edition + Live Houston 1973- 2 CDS Plus Bonus Tracks -WAV




Billion Dollar Babies em edição de luxo
Quer mais ou tá Bom??????
Imperdível - Tem que Baixar no Ato

A post from OldBitch and Adamus67 our Specialist in Classic Rock From Poland

Caralho, di vez in quando aparece umas que a gente tem que sair uivando ou se masturbando em público (às vezes os dois)
Num é que o caraio da gravadora tomou vergonha na cara e relançou o Billion Dollar Babies em edição de luxo, e por cima ainda com o Live Houston em 1973 com a formação original e mais bonus track?É foda , FODA, PHODA, PHUDIDO!!!!!!!!!!!!!!!!!!!!!!!!!!
Um puta cd Clássico como é o Billion e mais um segundo cd o Live Houston, só com classicos ao vivo e mais bonus!!!!!!!
Olha, isso aqui é sem comentários, talvez um dos discos mais esperados ( e não tinhamos mais esperença de acontecer) do Alice Cooper com a Formação original ao vivo,coisa que só tinhamos vistos em raros dvds
Ah, vai à merda, baixa logo esta porra aqui, e ai voce decide, uivar ou bater punheta/siririca? Ou os dois........
E vamo qui vamo

01. "Hello, Hooray" (Kempf) – 4:15
02. "Raped and Freezin'" (Cooper, Michael Bruce) – 3:19
03. "Elected" (Cooper, Glen Buxton, Bruce, Dennis Dunaway, Neal Smith) – 4:05
04. "Billion Dollar Babies" (Cooper, Bruce, Smith) – 3:43
05. "Unfinished Sweet" (Cooper, Bruce, Smith) – 6:18
06. "No More Mr. Nice Guy" (Cooper, Bruce) – 3:06
07. "Generation Landslide" (Cooper, Buxton, Bruce, Dunaway, Smith) – 4:31
08. "Sick Things" (Cooper, Bruce, Bob Ezrin) – 4:18
98. "Mary Ann" (Cooper, Bruce) – 2:21
10. "I Love the Dead" (Cooper, Ezrin) – 5:09

Deluxe Edition CD Live 1973 bonus tracks:
01. "Hello Hooray" (Live) (Kempf) - 3:04
02. "Billion Dollar Babies" (Live) (Cooper, Bruce, Smith) - 3:47
03. "Elected" (Live) (Cooper, Buxton, Bruce, Dunaway, Smith) - 2:28
04. "I'm Eighteen" (Live) (Cooper, Buxton, Bruce, Dunaway, Smith) - 4:50
05. "Raped and Freezin'" (Live) (Cooper, Bruce) - 3:14
06. "No More Mr. Nice Guy" (Live) (Cooper, Bruce) - 3:07
07. "My Stars" (Live) (Cooper, Ezrin) - 7:32
08. "Unfinished Sweet" (Live) (Cooper, Bruce, Smith) - 6:01
09. "Sick Things" (Live) (Cooper, Bruce, Ezrin) - 3:16
10. "Dead Babies" (Live) (Cooper, Buxton, Bruce, Dunaway, Smith) - 2:58
11. "I Love the Dead" (Live) (Cooper, Ezrin) - 4:48
12. "Coal Black Model T" - 2:28
13. "Son of Billion Dollar Babies" - 3:45
14. "Slick Black Limousine" (Cooper, Dunaway) - 4:26

Track 1 to 11 are recorded live in Houston 1973, previously unreleased on CD

Track 12 is an early version of "Slick Black Limousine", previously unreleased
Track 13 is a "Generation Landslide" outtake, previously unreleased
Track 14 was previously released in the UK only in 1973 as a free Flexi disc in NME magazine


English

Fuck, di time when it appears in some we have to go out howling or masturbating in public (sometimes both)
In fuck is that the label took on his face and shame relaunched in Billion Dollar Babies Deluxe Edition, and over again with a Live Houston in 1973 with the original lineup and more bonus track? Is fuck, FUCK, Fucking
A bitch like the cd Classic Billion plus a second CD Live Houston, only with live classical and more bonus!!!
Look, here it is without comment, perhaps one of the most anticipated albums (and had no more hope of making happen) Alice Cooper with the original live training, something that had only seen in rare dvds
Oh, piss off, so this shit right here downtown, and there you decide to howl or jacking off 


Adamus67 Part

Cooper considered one of the pioneers of rock with elements of theater, vaudeville and musical. His show was conceived as a shock to fans. Alice draws handfuls of horror films (he also appeared in them, such as "Prince of Darkness"). Artificial blood, electric chair, guillotine, the snake, and hundreds of cans of beer....hehehe - Cooper would mutilate dolls on stage when he performed this is inherent props his concerts. Alice suggested musically melodic rock, embedded in the tradition of the 60s and psychedelia and art rock, songs sing a characteristic, slightly hoarse voice.
The first two albums - "Pretties For You" and "Easy Action" - have not been successful. The team moved from Los Angeles to Detroit. There have been refined stage show and started work on new material. A contract with a group of Warner Bros. bought. The manufacturer of the third album was Bob Ezrin. Album "Love It To Death" brought the first big hit - "Eighteen". The album soon went gold later. The Alice Cooper began to speak louder. Also (and maybe especially?) Because of the unique concerts.
Has also proved successful new album - "Killer" (hit "Under My Wheels", later remade by Guns N 'Roses). Next, "School's Out" - proved to be a breakthrough for the band. Album landed in second place a "Billboard" and soon found more than a million customers.

Billion Dollar Babies is the sixth studio album by Alice Cooper, released in 1973. The album became the best selling Alice Cooper record at the time of its release, hit number one on the album charts in both the United States and the United Kingdom,
On it was a hit with "No More Mr. Nice Guy" (remade several year later by Megadeth) and went on to be certified platinum by the Recording Industry Association of America.

Alice Cooper, who wrote the majority of the album’s lyrics, cited Chuck Berry as a key influence on his writing."[Berry] was my favorite lyricist,"
Album dedicated to the broadly understood concept of perversion, not just sexual.

-Hello Hooray
The song is a Canadian composer Rolf Kempf, and performed it originally Judy Collins. The recording opened her album Who Knows Where the Time Goes, 1968, which incidentally until two songs sung by Leonard Cohen. Rolf Kempf from the child suffered from polio and still comes on crutches. Really great idea for an introduction to the album. The recording is a monumental flavor, great arrangement, the melodic and superbly performed. An important role is played by strings and piano. Excellent guitar solo in the middle of the track to the display of the bass guitar. A long, emotional finale, especially from the vocal. Work begins to submit to the Billion Dollar Babies tour. Group noted that the text fits Kempf them to enter.
-Raped And Freezin ‘
Composition and Bruce Cooper. Lighter in style rock Be My Lover. At the end of a little Mexican rhythms. Text surprising. The guy was driving with his girlfriend the way to Santa Fe in Mexico. The girl became insistent and had to flee in the desert. He got naked to the already famous town of Chihuahua.
-Elected
The composition of the group transformed from a recording of the album placed Reflected Pretties For You, which in turn was transformed from a recording Elected played by the musicians while they called themselves The Nazz. Paddock effective, since the recording Elected became the new anthem of Alice. The recording begins with a wall of sounds, from which you can pick out a strange note synthesizer. Alice does not sing, or rather shouting text.
The recording is well produced. The modern arrangement has included synthesizers and wind instruments. The action is swift, always something going on. The text, while following the presidential elections in 1972, is an attempt on the part of election campaign Alice. It is rather an attempt to election satire and a bit perverse, but the correct Alice’s suggestion directed toward young people to chose his. The initial guitar riff is very similar to the recording of Dolly Dagger, Jimi Hendrix (Rainbow Bridge album, posthumously released in 1971). Perhaps this is why the team wanted to explain why did the ‘new’ song.
-Billion Dollar Babies
Aggressive, perverted rock. Composition Cooper, Bruce and Reggie Vincent. Alice goes vocals himself. Reported vocal mannerisms similar to David Bowie is the most on the spot. If you have two heads, the second is Donovan, whose parties were registered during the famous or infamous session in London. Guitar solos you like. In addition to Buxton on guitar playing Reggie. It is worth noting seemingly synth arrangements. The text, of course, controversial, can not be otherwise, especially on this album. Oscillates around this sexual addiction, in which the full range of feelings associated with love is shed only dissolute physical love with a prostitute. This leads to a kind of paradox, in which the prostitute does not understand the behavior of a partner being regarded as perverse.  
-Unfinished Sweet
One of the best arrangements on the album. Composition Cooper, Bruce and Smith. Party music is subordinate to visit the dentist. For the first group game and a half minutes at a moderate tempo rock. Alice sings the text even without special emotions. Completion of the work are the groans of Alice on the background of siren, repeated theme played on guitar.
-No More Mister Nice Guy
Great riffs in the beginning. Composition and Bruce Cooper. One of the big hits. Good melodies throughout the song.
It is believed that the song is a riposte to Alice ARTICLE release in Rolling Stone music written statements made by the parents of Alice, who explained to him against charges of journalists. And these reproaches his father that raised such an element. Alice very experienced criticism, which was hampered by his family because of his performances. He was aware that they suffer from the reaction of the nearest community. She sings about it in this song.
-Generation Landslide
Cabaret entry point to a further departure from the style of the band, but no. The only new element is the acoustic guitar, which was achieved thanks to an interesting sound. Not abandoned the electric shock, but they are few and emphasize only certain portions of the text. The most surprising thing is nice harmonica solo, which Alice used a bit too little in his career. In the end guitar solo and more dynamic in this fairly light track to mute. The composition of the team. A prototype version of this recording called The Son of Billion Dollar Babies.
-Sick Things
The composition of Ezrin, Bruce Cooper. Again, unusual recording. Alice sings with the accompaniment of tribal drums and bass. At his voice is sometimes imposed path of recitation of the same words in a whisper (Buxton). As the situation turn on wind instruments. Together, this creates a somewhat cosmic crucible, which really corresponds to what is happening in the text layer. The intensity of sound increases after 3 minute. It gives a sense a low voice deklamuj?cy (Buxton). It comes with a guitar solo (Steve Hunter).
-Mary-Ann
Composition and Bruce Cooper. Only the piano (Ezrin) and singing (Alice). Same nietypowo?ci on this album. This time, Alice in the style of Paul McCartney. Very cabaret piano. Probably used in the compositions of the 40′s.
The farther, the group more and more surprises. Reczywi?cie text is mysterious. When Mary-Ann is a man, a suggestion that is transwescyt? is not meaningless. 
-I Love The Dead
The best record on the disc. The composition of Ezrin and Cooper. From the first track the bar comes in a unique atmosphere seemingly devoid of harmony. Alice quite quickly throws all the text in the midst of exotic oriental ornaments extracted from the strings of the piano. There he sings, recites rather ghostly voice, whose timbre dos?ucha? to be contradictive, black sense of humor. Dramatic, theatrical vocal skaty are great in this atmosphere. More and more frequently included guitar, which adapts to the dramatic atmosphere created by piano, rhythm section and strings here and there. Within the limits of 2:30 begins a two-minute piece, which is built around constantly repeated the words ‘I love body’ and a simple melodic line. In places the music stops and then Alice and Glen wypstrykuj? whole range of its zadyszek that really roz?mieszy?yby even dead. Around 4:30 track back to the beginnings of the climate. Alice repeats the opening verses, but with greater emphasis emotionally. A sudden and dramatic end of the short sounds of strings. The song is an example of an unusual sense of humor and hard to take it otherwise. Reviewers, however, generally avoided explicit statements about it. Not surprisingly, the subject of necrophilia is slippery, so it is highly likely that the praise song reviewer could cause credit to a group of people struggling to make this extremely rare sexual pleasure. Knowing the public reactions, and especially the media, such transfer was an expression of art and is extremely reliable. In public opinion, this work resulted in the group Alice Copper inclusion among the practitioners of extreme sexual perversions. This confirmed only that it was necessary to record a song....
-Coal Black Model T
A prototype of the recording Slick Black Limousine.
-Slick Black Limousine
In 1973 the song was released on a plastic plate that comes with the effort the New Musical Express in London. This was to be a group gift on the occasion of Alice Cooper tour in Britain. A little crazy rock. Loud and messy. Set in a classic rock and roll, but the battered guitar appetizer. Some of the sounds of singing in the second portion of the recording timbre reminiscent of Marc Bolan. The text of the hymn to the technical capabilities of the car that trigger so many emotions and give as many new experiences to man. I hope you die in a sleek black limousine.

Thanks OldBitch.....hug my friend!
Yours,  

no passwd