domingo, 28 de outubro de 2012

Colosseum: Live (1971) {2004 Remaster + Bonus Track} [FLAC]

Artist: Colosseum

Album: Live

Genre: Jazz-Fusion, Progressive Rock
Year: 1971
Country: England
Label/Catalog: Sanctuary Midline / SMRCD118 (2004 Remaster)

Format: FLAC

Brought to you by Putavéia (Oldbitch)

Recorded in March 1971, Live wasn't just a souvenir with live versions of favorites, although studio versions of half of the songs ("Walking in the Park," "Rope Ladder to the Moon," and "Lost Angeles") had appeared on prior albums. There were also three previously unrecorded items, those being the bluesy 15-minute Clem Clemson-Jon Hiseman original "Skellington," "Tanglewood '63" (in which Dick Heckstall-Smith's jazz sax came to the forefront), and the ten-minute charge through the standard "Stormy Monday Blues." Even on some of the songs that had been previously issued on studio releases, there's the difference of hearing Chris Farlowe (who didn't join until mid-1970) on lead vocals -- a blessing or a curse, depending on your taste for his piledriving approach. Credit should be given to Colosseum for giving the album a markedly different approach than their studio outings, and it does demonstrate their prowess as a muscular live outfit with a taste for blending progressive rock, jazz, and blues. But like many a live effort it does tend toward too-long arrangements, none of the songs clocking in under the seven-minute barrier. (Richie Unterberger @ AllMusic)

01 Rope Ladder To The Moon (9:43)
02 Walking In The Park (8:21)
03 Skelington (14:52)
04 Tanglewood '63 (10:12)
05 Stormy Monday (7:29)
06 Lost Angeles (15:43)
Bonus Tracks
07 I Can't Live Without You (7:28)

Chris Farlowe - vocals
Dave Greenslade - organ, keyboards, vibraphone
Mark Clarke - bass, vocals
Dave "Clem" Clempson - guitar, vocals
Dick Heckstall-Smith - saxophone, soprano sax, tenor sax
Jon Hiseman - drums, producer

Originally released as Bronze Records ICD 1-2 in 1971.


sábado, 27 de outubro de 2012

Ernan Roch Con Las Voces Frescas - La Onda Pesada (1971, Mex, Psych, Onda Rec. vinyl rip, single flac + cue, DR10, artwork)

   *** Reviewed by great fellow Adamus67 ***
Rare Mexican psych album from 1971, this one is heavy on the south of the border fuzz—and if “The Train” hasn’t been comped yet, I’m sure it is only a matter of time. Whereas the vinyl boasts a hefty price tag, an original Rex label is around $1,000, if you can find a copy. West Coast style psych little bit folksy, a little bit psychedelic from this a Mexican singer known only for this album. Roch sings in English throughout, often in a mode that mixes bluesy phrasings with a raspier folk style, a package made all the more excellent thanks to the mix of acoustic and fuzzed-out electric guitars. These are heavy on dark-edged phrasings, and they really give the record a spooky feel, one that some people have likened to being almost folk/funk at times! Production is simple, but somehow heavenly, floating with a brilliance crafted from a very few simple elements; that guitar... it's amazing! one of those rare perfect moments of studio magic.
   Thank you so much Adam for that effort

'60s Mexican album with amazing psychedelic guitar playing (ripping wah wah fuzz). All songs are in English and have a West Coast feel but that guitar... it's amazing!....terrific West Coast style psych, with melodic vocals and blasts of incredible fuzz guitar.


lado 1:
A1. The Train
A2. Sitting On The Side Of The Ocean
A3. I Found All
A4. I Can't
A5. Round Round
lado 2:
B1. Gonna Make It
B2. A Life Of Love
B3. Cause Of Love
B4. All Right / It's Gonna Take Me Time
B5. Give Me A Piece

[Rip and Scans by gigic2255]

Link:   254 mb/file

Earthless: Live At Roadburn (2008) [FLAC]

Artist: Earthless

Album: Live At Roadburn
Genre: Heavy Psychedelic/Stoner/Hard Rock
Year: 2008
Country: United States
Label/Catalog: Tee Pee Records / TPE-089

Format: FLAC (image+cue+log)

Se tem uma banda que consegue manter o mesmo espírito setentista de longas improvisações carregadas de distorções e totalmente livres de quaisquer limitações de tempo, mas por outro lado sem dever nada aos mestres do passado ou muito menos meramente reproduzi-los, esta sim é o Earthless. Seu único álbum ao vivo, gravado no 13º Roadburn Festival, em Tilburg, na Holanda, mostra o quão além eles podem ir no palco com um set que dura cerca de uma hora e meia e sem interrupções - exceto pela limitação de tempo do CD. E quanto ao som, fãs de bandas como Hawkwind, Black Sabbath, Ash Ra Tempel e Guru Guru não terão nada a perder ouvido isso aqui.

If only there's a band which can keep the very same setentist spirit of endless jams fully carried of distortions and entirely free of any time limitations, although on the other hand not oweing anything to the masters from the past or even merely reproduce them, this one is really Earthless. Their only live album, recorded during the 13th Roadburn Festival, in Tilburg, Holland, shows how far they can go on stage with a set which lasts for about one hour and a half without any interruptions - except for the CD limitation time. And about the music itself, fans of bands like Hawkwind, Black Sabbath, Ash Ra Tempel and Guru Guru will not waste any time listening to this one.

Recorded live at the 13th Roadburn Festival, Tilburg, Holland, on April 18th 2008

Disc 1
01 Blue > From The Ages (56:05)
Disc 2
01 From The Ages > Godspeed > Sonic Prayer (35:27)

Isaiah Mitchell - guitar
Mario Rubalcaba - drums
Mike Eginton - bass


sexta-feira, 26 de outubro de 2012

Annexus Quam: Osmose (1970) {1995 Reissue} [FLAC] + Beziehungen (1972) {1999 Reissue} [APE]

PORTUGUÊS: Surgido originalmente como Ambition Of Music em setembro de 1967 em Kamp-Lintfort, uma pequena cidade próxima a Düsseldorf, na Alemanha, os músicos do que viria a se tornar o Annexus Quam começaram fazendo cover de diversas bandas de beat music, sendo que mais tarde passariam a compor suas próprias músicas. Na primavera de 1968, eles se juntaram ao Evangelischen Posaunenchoir (Coral Evangélico de Trombones) para que pudessem ter uma visão mais abrangente em relação à música e para que pudessem ter capacidade e habilidade de criar algo que não fosse tão ligado ao que havia na mídia. A partir daí eles passaram criar algo experimental, que na prática remetia a uma mistura de música ambiente, jazz-fusion e rock psicodélico com uma enorme gama de instrumentos utilizados. Infelizmente o Annexus Quam produziu apenas dois álbuns, ambos lançados pela Ohr e que são obras importantes nos primórdios do krautrock, respectivamente em 1970 e 1972, mas carrega consigo o mérito de ter sido a primeira banda alemã de rock a tocar no Japão, com dois shows feitos no Expo '70 em Osaka.

ENGLISH: Originally formed as Ambition Of Music in September 1967 in Kamp-Lintfort, a little town near Düsseldorf, Germany, the musicians of what would become Annexus Quam began playing covers of already known beat music tracks, shortly later along with their own compositions. In the spring of 1968, they joined the Evangelischen Posaunenchoir (Evangelical Trombones Choir) to adquire a wider view of music and to develop capability and hability to create something not too tied to what was on the mainstream. Since then, they started going towards a more experimental way, which resulted on a blend of ambient music, jazz-fusion and psychedelic rock with a huge range of instruments used. Sadly Annexus Quam only produced two albums, both were released by Ohr and historically important in the beggining of krautrock, respectively in 1970 and 1972. Besides, they carry the merit of being the very first German rock band to play concerts in Japan, two of which were held at the famous Expo '70 in Osaka.


Artist: Annexus Quam

Album: Osmose

Genre: Krautrock, Jazz-Fusion, Ambient Music
Year: 1970
Country: Germany
Label/Catalog: Spalax Music / 14881 (1995 Reissue)

Format: FLAC (image+cue+log)

01 Osmose I (4:15)
02 Osmose II (3:11)
03 Osmose III (10:36)
04 Osmose IV (18:20)

Uwe Bick - drums, vocals, percussion
Jürgen Jonuschies - bass, vocals, percussion
Werner Hostermann - clarinet, organ, vocals, percussion
Peter Werner - guitar, vocals, percussion
Hans Kämper - spanish guitar, trombone, vocals, percussion
Ove Volquartz - saxophone, flute
Harald Klemm - flute, vocals, percussion

Originally released as Ohr OMM 56.007 in 1970


Artist: Annexus Quam

Album: Beziehungen

Genre: Krautrock, Jazz-Fusion, Ambient Music
Year: 1972
Country: Germany
Label/Catalog: ZYX Music / OHR 70003-2 (1999 Reissue)

Format: FLAC (image+cue+log)

01 Trobluhs el E Isch (5:29)
02 Leyenburg 1 (14:05)
03 Dreh Dich Nicht Um (16:20)
04 Leyenburg 2 (3:35)

Peter Werner - guitar
Hans Kamper - trombone, guitar, flute
Ove Volquartz - flute, saxophone
Harald Klemm - zither, tabla, guitar, Bendira
Martin Habenicht - bass

Originally released as Ohr OMM 556.028 in 1972

1970 - Osmose FLAC,477484697.rar(archive)


Annexus Quam - Beziehungen 1972 APE,477538631.rar(archive)


Lucifer's Friend: Lucifer's Friend (1970) {1990 Reissue + Bonus Tracks} [FLAC]

Artist: Lucifer's Friend

Album: Lucifer's Friend
Genre: Hard Rock, Heavy Progressive Rock
Year: 1970
Country: Germany
Label/Catalog: Repertoire Records / RR 4059-CX (1995 Remaster)

Format: FLAC (image+cue+log)

Combinando tudo o que um fã de Uriah Heep, Black Sabbath e Deep Purple gostaria de ouvir, o Lucifer's Friend era uma das bandas precursoras no que seria conhecido como Heavy Metal. Surgida em Hamburgo, na Alemanha, no fim dos anos 60, a banda começou com o nome de Asterix e até chegou a lançar um álbum com esse nome, mas após a troca de alguns integrantes, o nome mudou para Lucifer's Friend, assim como a direção musical. Mas, enfim, é uma banda geralmente desconhecida, mas que tem uma vasta discografia e essencial para qualquer fã de progressivo pesado ou hard rock.

Blending everything that a fan of Uriah Heep, Black Sabbath and Deep Purple would like to listen, Lucifer's Friend was one of the pioneering bands on what would be known as Heavy Metal. Formed in the late 60s in Hamburg, Germany, they originally started with the name Asterix and even released an album, but after some lineup changes, their name was switched into Lucifer's Friend, as well as their musical roots. But, anyway, it's a generally unknown band, although with a vast discography and essential to any heavy progressive or hard rock fan.

01 Ride the Sky (2:55)
02 Everybody's Clown (6:12)
03 Keep Goin' (5:26)
04 Toxic Shadows (7:01)
05 Free Baby (5:28)
06 Baby You're A Liar (3:55)
07 In The Time Of Job When Mammon Was A... (4:04)
08 Lucifer's Friend (6:12)
Bonus Tracks
09 Rock 'N' Roll Singer (4:21)
10 Satyr's Dance (3:17)
11 Horla (2:52)
12 Our World Is a Rock 'N' Roll Band (3:20)
13 Alpenrosen (3:53)

Peter Hecht - organ
Dieter Horns - bass, vocals
John Lawton - lead vocal
Joachim Rietenbach - drums
Peter Hesslein - guitar, vocals

Originally released as Phillips 6305 068 in 1970.


Vikings Invasion - Vol.1 (1975, Swiss, rawhardbluesyrock, RD vinyl rip, single flac + cue, DR11, artwork)

   *** Reviewed by great fellow Adamus67 ***
Vikings Invasion from the German-speaking part of Switzerland( Basle) played quite a rough type of blues-rock with progressive touch. Charles Sterchi on guitar and vocals, Eric Eberhard on bass, and Gerhard Burri on drums had played together in this simplest possible configuration already since 1970 and originally called themselves after a character by Brecht.
In 1975, their only LP was released exclusively in England (Penthouse Records PEN 1001) where they lived and had concerts for some time; it carried the optimistic title “Vol.1”. The creature on the cover is meant to represent Basle’s heraldic dragon which was, however, considerably manipulated.
In Switzerland a bootleg LP of “Vol. 1” was released in 1997, on which a permanent grinding noise significantly disturbs the pleasure of listening. The work is of interest mainly because of the high collectors’ price fixed for the original LP. Nonetheless, the energy and passion for the music shines through all that, and at times it is a wild freak out, rather experimental in places, although blues is still the major influence, so a liking for the blues is a must on the listeners behalf.
   Thank you so much Adam for that effort   

"This is a reissue of what might be the least known of the Swiss 70's progressive albums; hard & heavy Cream influenced trio that couldn't play the clubs then because due to the loudness of the music the windows would break. 'Marshall heaven' from 1975."
"Vikings Invasion was a pre-punk German-speaking-Swiss left-wing hard rock group playing American-style blues-rock in England, sung in English. Vikings Invasion is caveman-simple rock recorded live in a what sounds like a rehearsal room. There is nothing intricate or subtle about these Swiss dudes’ cretinous playing. They played loud. They played thuddingly dumb. But they also played the blues. Vikings Invasion started out with the name Dreieinkeitsmoses, meaning Trinity Moses, taken from a Brecht play (that’s why, beyond the ‘70s long-hair zeitgeist, I assume them to have been at least modestly left-wing). In addition to Eliot, they used Brecht poetry for lyrics too. Their British record label, which signed them after they won a contest sponsored by Melody Maker in 1975, made them change their name to Vikings Invasion, ostensibly confusing Switzerland with Sweden. The LP was called “Vol. 1,” but no second volume ever appeared. The record is as unpolished a release as one can imagine a big label of the ‘70s producing. It has the feel of a demo, and this CD includes one 11-minute bonus rehearsal track, which does not have a particularly noticeable difference in fidelity from the LP itself, except for a thicker guitar tone and a pretty awesome wah guitar solo. My favorite song is “Listen to Four Guitars on Your Corner,” which you’ll be shocked to learn is one of the heaviest and least bluesy tracks. Two other highlights are the other heavy slugger “Rhapsody on a Windy Night” and “Answer for My Life,” with a title befitting a ‘90s Tokyo hardcore record. Both songs have up-tempo parts (most of the songs are rather slow), and the latter’s is over a minute of uber-simple proto-punk."
-read the entire review here

Vikings Invasion - The Mirror

side one:
A1. The Mirror
A2. The Love Song Of J. Alfred Prufrock
A3. Blues Special
A4. Listen To Four Guitars On Your Corner
A5. Shadow Boogie
side two:
B1. Rolling Times
B2. Dark Lane Child
B3. Moon Of Alabama
B4. Rhapsody On A Windy Night
B5. Answer For My Life

Vikings Invasion:
Eric Eberhard / Bass
Garhard Burri / Drums
Charles Sterchi / Guitar, Vocals

[Rip and Scans by gigic2255]

Link:   252 mb/file

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segunda-feira, 22 de outubro de 2012

Cravinkel - Garden Of Loneliness (1971, Ger, hardkrautrock, Walhalla CD, single flac + cue, log, artwork)

   *** Reviewed by great fellow Adamus67 ***

The North German rock group Cravinkel in 1969 founded in Wilhelmshaven and first played blues-tinged folk rock.
In 1970 Cravinkel moved to Hamburg, where they received an extraordinarily well-paid contract with the record label, Philips, and she moved into a remote country house after Volkmarst in order to prepare for their first album, which they recorded in August in London at the IBC studios, led by Rainer Goltermann. Then they play on "Love-and-Peace Festival" on Fehmarn and go with Frumpy and Spooky Tooth on tour. At the end of her album Cravinkel was published, but largely ignored by the German press.
Cravinkel, lead by one Gerd Krawinkel, were odd for a German band in the early-70's, as their sound was often closer to Nordic bands of the era like Culpepper's Orchard, blending in country and folk musics into Anglo-American type rock improvise, skillfully running. Contrary to general trends, their second album "Garden Of Loneliness"LP Philips (6305 124), is reputed to be an excellent progressive psychedelic album. The second album, with the claw "Cravinkel" is published, CD, 2003, Valhalla (90302)get a bit bulky. There are only three songs on it, but these have an almost epic length. While listening to it can be stated, however, that the long title were not sure recorded at a time in the studio. The tracks were composed more like a puzzle to this length,which is why the long tracks do not get bored. The polyphonic vocals are slanted, rough and good. The music is a mix of American-sounding folk and progressive rock. That sounds funny, but it sounds good. Specifically, a portion of the over-long track "Stoned" is because of the polyphonic singing clearly CSN & Y has a model. Often the focus is two-voice guitar solos. Album has been produced by Rainer Goltermann, who then produced many artists at Philips, including Rex Carter. Rex Carter? This is a pseudonym under which Stephan Remmler also released one single on Philips ....obscure single from 1971, "Keep On Running", coupled with "Mr. Cooky" (Phillips 6003 158), neither track having been included on any of the albums. All in all, "Garden Of Loneliness" is a must for every Krautrockfan.
Sometime Cravinkel also played in Cuxhaven in a forest castle.
In the spring of 1972, the house burned completely from Cravinkel in Volkmarst, the group was then still a few gigs, but eventually broke up because of chronic failure.
Gerd Krawinkel appeared in 1980 at the beginning of the New Wave band Trio.
Cravikel bassist Rolf 'Mick' Kaiser, who also belonged to the group Meier Miller Emperor and from the mid-seventies in Bremerhaven, the trendy pub 'Wally' died in early 1997 from lung cancer.
Cravinkel supposedly enjoy in northern Germany is still a kind of cult worship, which probably has to do with the fact that the former group members remained musically active and claw Krawinkel later became very popular with trio
   Thank you so much Adam for that effort     gigic2255

The sleeves of both Cravinkel records only stated their last names and contained no further information about these four guys. Cravinkel (1970) had short tracks with a firm country rock touch, which I think was a bad Idea... In fact, the album was recorded in London at the IBC studios and produced by Rainer Goltermann (Phillips' "house producer"). The album came in a poster fold-out cover which showed the band lazing in a haystack. Garden Of Loneliness (1971) had a single cover (nice psychedelic artwork on the front!), but enclosed a poster. Their music had by now become heavier and more "progressive" (which can be defined as: "longer tracks, more time for instrumental work, and generally better albums"). Side two had a 20 minute jam session called "Stoned", an apt title! It was quite a change from their first one, but indeed a logical development. This album too was a Goltermann production. There is also an obscure single from 1971: "Keep On Running" coupled with "Mr. Cooky" (Phillips 6003 158), neither track being included on any of the albums.
(~Cosmic Dreams At Play)
If their first was a weird folk obscurity, this last is just a vague collection of conventional heavy rocking compositions. We can simply notice an enthusiastic sense of improvisation during the breaks and lead guitar solos, including short soul jamming sessions, funky & jazzy rythmical accompaniments. "Garden Of Loneliness" is a strong, special and dynamic rocking piece with wha wha guitars, agressive vocals, occasionally featuring calming sequences with nice floating guitar lines. "Stoned" is a massive, punchy heavy rock sounding composition, including some acoustic guitar parts (during the break) and a technical drummy improvisation at the end. A proggy rock'n roll essay but absolutely not inspired despite some honest guitar leads and spontaneous instrumental demonstrations. I don't have a lot of to say about this album because it introduced nothing really captivating or original. Easy stuff to forget directly after one listening. Far to 70's German psych-fusion freakouts / mysticism despite that they are historically associated to the krautrock movement.
(~progarchives) by philippe

Cravinkel - Stoned

01. Sitting In The Forest
02. Garden Of Lonelinesss
03. Stoned

Gert Franz Alexander Krawinkel - gt, perc
Rolf 'Mick' Kaiser - voc, bs
Klaus George Meier - gt, voc, perc
George B. Haupt - dr

[Rip and Scans by gigic2255]

Link:   273 mb/file

quinta-feira, 18 de outubro de 2012

Canned Heat - Live At The Turku Rock Festival (August-1971, Bear Track CD, single flac + cue, log, artwork)

*** Reviewed by great fellow Adamus67 ***
Canned Heat recorded its first LP in 1966, with Johnny Otis as producer. However, It was not immediately released, and didn’t actually see the light of day until 1970, when it was put out as Vintage Heat. Versions of Willie Dixon’s “Spoonful”, John Lee Hooker’s “Louise”, and Muddy Waters’ “Rollin’ and Tumblin’” were included in the album that according to the biography on Canned Heat’s website is: “The most repackaged and bootlegged record in Canned Heat’s discography.”
Recorded in Finland in 1971, the band was touring to support their worldwide hit album Historical Figures And Ancient Heads. With a new line up featuring Joel Scott Hill, Antonio De La Bareda, along side founders Hite, De La Parra, and Henry Vestine, this band could do no wrong,showcases this hard working boogie band at their peak of their post- Woodstock fame. Led by the big man Bob Hite, The Heat Cook up over an hour of rock, blues, country blues and hit songs from their catalog of albums. This band really was the consummate blues band of the era and it shows throughout this live performance. A healthy dose of tracks from the aforementioned Historical Figures and Ancient Heads album are in order as Hills Stomp, Long Way From L.A. and others are featured on this disc. Check out the classic hit Let's Work Together with incredible vocals and Canned Heat's tight chemistry on stage. Canned Heat Boogie This lengthy jam is seeing its first release in North America, and this rarity is just one of the many fine tunes on this fine live recording. Remastered from the original concert tapes, this authorized edition of Live At The Turku Rock Festival is just the right album for your blues, rock and boogie needs. Rock On!
Thank you so much Adam for that effort        gigic2255

If you are looking for a great sounding live album from Canned Heat, than this is the one. This was recorded right after Blind Owl Alan Wilson passed away and the bands was starting over. They added guitarist and vocalist Joel Scott Hill to the band and this was his first concert with them. He fits right in with great vocals and guitar support to the sunflower-Henry Vestine, who is great in this set. Great guitar solos, long versions of their songs, and great vocals by the Bear-Bob Hite--despite the fact that the Blind Owl just died. The stereo on this recording is great and Hite plays a mean harp. Long versions of On the Road again sung by Hite with great guitar and some blues songs sung by Hill, who went on late to join the Flying Burrito Brothers for a few albums--if you can find his album LA Getaway I would purchase it--sounds great with LA Session players. GET THIS ALBUM FROM CANNED HEAT-GREAT SONGS-GREAT SOUND-LONG SONGS_JUST GET IT!!!!!!!!
(~amazon) by J. R Sategna

Canned Heat - She Don't Want Me No More

Canned Heat - One Kind Favor   /Embedding disabled by request/ 

01. Introduction
02. She Don't Want Me No More
03. Let's Work Together
04. On The Road Again
05. That's All Right
06. Hill Stomp (instrumental)
07. Long Way From L.A.
08. Watch Yourself
09. Canned Heat Boogie
10. Late Night Blues

Canned Heat:
Robert (Bob) The Bear Hite - vocals, harmonica
Henry Vestine - guitar
Joel Scott Hill - vocals, guitar
Antonio De La Barreda - bass
Adolfo Fito De La Parra - drums

[Rip and Scans by gigic2255]

Link:   443 mb/file

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segunda-feira, 15 de outubro de 2012

Solaris: Marsbéli Krónikák (The Martian Chronicles) (1984) {1995 Remaster} [FLAC]

Artist: Solaris

Album: Marsbéli Krónikák (The Martian Chronicles)
Genre: Symphonic Progressive Rock, Space Rock
Year: 1984
Country: Hungary
Label/Catalog: Gong / HCD 17819 (1995 Remaster)

Format: FLAC (image+cue+log)

Nos anos 80, ainda na época da cortina de ferro, rock progressivo ainda era bastante popular na Hungria, tempos em que o Omega era capaz de fazer shows que atraíam até cerca de 100.000 espectadores. Entretanto foi aí que surgiram oportunidades para novas bandas, a exemplo do Solaris, ainda que houvesse algumas limitações por parte do governo socialista. O Solaris foi formado por um grupo de amigos de colégio em 1980 e após ter conseguido notabilidade com alguns singles lançados, o primeiro álbum saiu em 1984. Com o título de 'Marsbéli Krónikak', a banda combinava um som futurista pelo uso maciço de sintetizadores, muito pela influência do New Wave e Synth Pop, ao progressivo clássico com uso de flauta. Felizmente, o álbum fez sucesso e vendeu cerca de 40.000 cópias na Hungria e fez do Solaris uma das bandas de rock mais prestigiadas que já surgiram naquele país.

In the 1980s, still on Iron Curtain times, progressive rock was very much popular in Hungary, by the time Omega was capable to attract an audience of about 100,000 people for their concerts. However since then some opportunities arose for new talents, such as Solaris, for example, even though some limitations from the socialist government were existent. Solaris was formed from a bunch of school friends in 1980 and after making a name by releasing some singles, their debut album was finally out in 1984. Under the title 'Marsbéli Krónikak', their sound blended futuristic elements due to the massive use of synthesizers, much for New Wave and Synth Pop influence, into classic progressive with the use of flute. Fortunatly, their first album was successful and sold 40,000 copies in Hungary alone, what made Solaris one of the most praised rock bands from that country.

01 Marsbéli krónikák I. (3:34)
02 Marsbéli krónikák II.-III. (6:32)
03 Marsbéli krónikák IV.-VI. (13:15)
04 M'ars poetica (6:39)
05 Ha felszáll a köd (3:58)
06 Apokalipszis (3:44)
07 E-moll elõjáték (0:29)
08 Legyõzhetetlen (2:46)
09 Solaris (4:53)
10 Orchideák bolygója (3:17)
11 A sárga kör (4:54)

István Czigmán / electric & acoustic guitar, synthesizer, keyboard efect, percussion
Robért Erdész / piano, organ, synthesizer, keyboard efect
László Gömör / drums, percussion, synthesizer
Attila Kollár / flute, recorder, synthesizer, keyboard efect, percussion, vocals
Tamás Pócs / bass

Originally released as Start SLPM 17819 in 1984.


quinta-feira, 11 de outubro de 2012

Beauregarde - same (1971, US, strange dirtybluesypsychrock, RE F-Empire vinyl rip, single wav + cue, DR13, artwork)

His wrestling career began in 1963 and by 1970 he had become one of the biggest names on the Pacific Northwest Wrestling circuit. He was renowned for his unique wrestling moves (and finishing move The Thumb) and crazy on-stage characters he created for himself. On match days he would find a historic figure whose date of birth fell on that day and pretend to be them during the match and in interviews.
In 1971, he released an album bearing his stage name, "Beauregarde" featuring Greg Sage of the Wipers on guitar. Beauregarde enlisted Sage (then 17) after overhearing him playing guitar for a friend's band at Sound Productions studio in Portland

side one:
A1. I Got Something
A2. Super Star Super Star
A3. If You Got Soul
A4. Tomorrow, Tomorrow
side two:
B1. Everybody Ball
B2. I'm Talkin' Time
B3. Testify
B4. Pass Away
B5. I

Beauregarde - Testify  (really great clip)

Vocals - Beauregarde 
Guitar - Greg Sage (Wipers)
Drums - Jay Lundell
Bass - Dave Koupal (Wipers)
Congo / Sax - Allen Robinson
Organ / Piano / Trumpet - Omar Bose

Wipers - Born With A Curse

[Rip and Scans by gigic2255]

Link:   218 mb/file

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domingo, 7 de outubro de 2012

Zakarrias - same (1971, UK, progpsych, RE-Deram vinyl rip, single wav + cue, DR9, artwork)

*** Reviewed by great fellow Adamus67 ***

The only one album Zakarrias the British band is an overlooked treasure of the early 70s UK rock scene. Almost no information about the bands history is available, but their lone LP is now considered one of the rarest (along with Mellow Candle's Swaddling Songs album and LP groups Room.)
Recorded in London in the summer of 1971 by Austrian singer/song-writer Bobby Haumer (funny enough!).
Together with a couple of mates they played a highly unusual blend of psych, folk, rock and blues. Zakarrias himself was an exceptionally talented songwriter and arranger. So this gem is still an eponymous LP with intelligent progressive and jazzy song writing and performing was issued on the highly collectable Deram -SML1091 label.

However, Deram withdrew the album almost immediately when they discovered that Haumer didn't have a work permit and therefore had to return to Austria.

Released in 1971, the eponymous LP by Zakarrias presented their highly unusual blend of psych, folk, hard rock and blues, which benefited from diverse arrangements and clever, romantic lyrics is presented as a blues-rock alternative to LED ZEPPELIN.

Full of unexpected melodic shifts, and with an overwhelming sense of space and unresolved tension, the album skilfully blends singer/song writer introversion with elements of folk, blues, psychedelia and progressive rock. together with acoustic piano and guitar, and an excellent rhythm section,enhanced electric guitar and Hammond organ are both used but are mixed in subtly-manner

The results have been compared to outtakes from the third Led Zeppelin album, but while the lead vocals are certainly reminiscent at times of Robert Plant, the overall sound and general air of quiet pretension is probably closer to Van der Graaf Generator leader Peter Hammill's early solo work,also with a lot of Hammond organ and Rickenbacker bass. It can also remind of Riff Raff or to Brian Auger Oblivion Express. Great album one of my faves, this guy mixed, folk, blues, prog, and psych without a problem, MASTERPIECE ALBUM.
   Thank you so much Adam for that effor

By now, this has turned out to be the rarest Deram album. Musically it is a strange eclectic mixture of hard rock with acoustic guitar and bluesy folk with strongly romantic lyrics. The accompanying band plays tight enough, but most of the songs are a bit too common to excite. Zakarrias is at his best on the slower tracks when he doesn't try to rock out. The lyrics are above average:

    "We are like counts and kings
    presented with rings and diamonds.
    In a suit of iron we sleep
    which our dreams hang on." (Marcel Koopman).

Geoff Leigh went on to play in Quiet Sun, Mouseproof, Henry Cow and Radar Favourites. Peter Robinson had played with Chris Farlowe and went on to Quatermass, Curtis Maldoon, session work and a spell with Al Stewart.

Zakarrias has a rather enigmatic approach to rockin': He does it without the typical lead guitar breaks, or loud, crunchy electric rhythm guitar one would normally find on a rock LP of this era. Instead, his approach is all about the tension and release built by using his reedy vocals together with acoustic piano and guitar, and an excellent rhythm section. The electric guitar and Hammond organ are both used but are mixed in subtly. I describe these things because they constitute a novel approach to arranging a rock LP of this era, in my view.

The songwriting style is bluesy yet also progressive and jazzy, since he incorporates many tempo changes within a given track. Furthermore, he also uses horns subtly with no blaring solos. His compositions don't burn, they smolder.

Zakkarrias is a master of rhythm and mood on this his first and only LP. I'm wishing he had continued with other releases. I've not been able to find anything out about this artist's career. If anyone knows anything, I would appreciate an update.

Rare early '70s Deram psych / prog. One of the more interesting albums on the label with powerful distinctive male vocals, heavy guitar, bass keyboards and string arrangements. A bit like T2 in places... certainly a grower....
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Zakarrias - Who Gave You Love

Zakarrias - Cosmic Bride

side one:
A1. Country Out Of Reach
A2. Who Gave You Love
A3. Never Reachin`
A4. The Unknown Years
side two:  
B1. Sunny Side
B2. Spring Of Fate
B3. Let Us Change
B4. Don't Cry
B5. Cosmic Bride

DON GOULD - keyb'ds, strings
GEOFF LEIGH - flute, sax
ZAKARRIAS - vcls, gtr, bs, kazoo

[Rip and Scans by gigic2255]

Link:    393 mb/file

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sábado, 6 de outubro de 2012

Eloy: London 1984.05.27 - 2 Shows {Bootlegs} (FM & AUD) [FLAC]

O Eloy, uma das bandas progressivas mais tradicionais da Alemanha, fez sua primeira aparição na Inglaterra - ainda que tardia - durante a turnê do 'Metromania', o último álbum da banda antes dela de dissipar pela primeira vez. Essa passagem pela Inglaterra se resumiu em três shows em Londres, sendo o primeiro no South Bank Festival, no Jubilee Gardens, e os outros dois no famoso Marquee Club. Os dois primeiros shows foram feitos no mesmo dia - e que fazem parte deste post - sendo que o do Jubilee Gardens foi transmitido pela rádio, portanto tem qualidade melhor do que o do primeiro no Marquee Club, que foi gravado pela platéia. O repertório desses shows contempla em sua maioria faixas que vão do 'Colours' até o 'Metromania' - recém-lançado até então.

Eloy, one of the most traditional German progressive bands, did their very first concerts in England - even if too late - during the 'Metromania' tour, their last album before they splitted up for the first time. This passage through England was resumed in three concerts in London, as being the first one during the South Bank Festival, at the Jubilee Gardens, and the other two at the famous Marquee Club. The two first concerts were played in the same day - and which are part of this post - however the Jubilee Gardens concert was broadcast on radio, therefore it has better sound quality than the first at the Marquee Club, recorded by the audience. The setlist for these concerts essentially presented material from 'Colours' to 'Metromania' - their then most recent album.


South Bank Festival, Jubilee Gardens
London, England

01 (Tuning > Intro) (0:46)
02 Through A Somber Galaxy (5:19)
03 On The Verge Of Darkening Lights (4:10)
04 Point Of No Return (5:44)
05 Heartbeat (6:05)
06 Silhouette (5:15)
07 Nightriders (5:10)
08 End Of An Odyssey (10:06)
09 Illuminations (5:34)
10 Drum Solo (3:54)
11 Fools (5:05)

Frank Bornemann - guitar, vocals
Klaus-Peter Matziol - bass
Hannes Arkona - guitar
Fritz Randow - drums
Hannes Folberth - keyboards

Taping Gear: Unknown
Lineage: FM Broadcast > ? > FLAC


The Marquee Club
London, England

01 Through A Somber Galaxy
02 On The Verge Of Darkening Lights
03 Hearbeat
04 Silhouette
05 Nightriders
06 End Of An Odyssey
07 Seeds Of Creation
08 Poseidon's Creation
09 Shadow And Light
10 Illuminations
11 Drum Solo
12 Fools

Frank Bornemann - guitar, vocals
Klaus-Peter Matziol - bass
Hannes Arkona - guitar
Fritz Randow - drums
Hannes Folberth - keyboards

Taping Gear: ?
Lineage: 1st Gen Audience Tape > Magix Audio Lab > WAV > DBpoweramp > FLAC



Password: micose

sexta-feira, 5 de outubro de 2012

Smash - We Come To Smash (1971, Spain, Progpsych, Philips CDRrip, wav, cue, log, artwork)

Short after the release of "La glorieta...", Smash entered studio again to record their second and last album, this was 1971. They dropped some hard rock influence to the mix, so it's hard-psychedelic flamenco rock you get here, and it's probably the most appreciated Smash recording by connoisseurs.

Smash - Well, You Know

1. Well You Know
2. First Mouvement
3. Behind The Stars
4. We Come To Smash This Time
5. My Funny Girl
6. Don't Be Sad, Baby
7. Fail Safe
8. Good Bye

Gualberto - guitar,sitar,tabla...
Antoñito Rodriguez - drums
Henrik Michael - violin & flute
Julio Matito - vocals
Silvio Mane - percussions

[Rip and Scans by gigic2255]

Link:   215 mb/file