sábado, 28 de setembro de 2013

Aeroblus - Aeroblus (1977 tremendous Argentinian/Brazilian hard/heavy & blues rock, 2006 digipack edition - FLAC)

Bem, que o sr. Pappo foi um grande guitarrista da nossa "querida" vizinha Argentina provavelmente todos que apreciam um grande guitarrista sabem, mas que ele fez esse fantástico hard/heavy rock álbum, no ano de 1977, juntamente com outro argentino (Alejandro Medina) e o nosso brasileiro Rolando Castello Júnior (Patrulha Do Espaço), talvez não seja de conhecimento de muita gente; então eis uma boa oportunidade de ouví-los em alta qualidade de som! Desfrutem!

domingo, 22 de setembro de 2013

MISSUS BEASTLY: Missus Beastly (1974) (2005 Reissue + Live Bonus Tracks) [APE]

Artist: Missus Beastly

Album: Missus Beastly

Genre: Jazz-Rock, Jazz-Fusion, Progressive Rock, Krautrock
Year: 1974
Country: Germany
Label/Catalog: Garden Of Delights / CD 113 (2005 Reissue)

Format: APE (image+cue+log)

"After a two years rest, MB reconvened through a few gigs and chance meetings and the line-up was sensibly different with only drummer Oldemeier and flutist/saxman Benz (who had not recorded on their first Lp) left, but with Missing Link keyboardist Miekausch and bassist/guitarist Dömling and other wind instrumentalist Josch. Graced with a rather tasteless banana-gorilla artwork, this album would turn out rather differently to MB's previous incarnation's sole release but was recorded at the inevitable Dieter Dierks' studio. Out of the silence come jungle beats soon joined by a jazzy flute and cool electric piano over a funky bass, and the tone is set: MB was definitely up-to-date and very jazzy, reminding McCoy Tyner's piano works (as Coltrane's great ex-sideman was also hanging around in Germany, recording his best albums), but coming to a very abrupt end. The follow-up is starting just as abruptly, bringing you back a bit where the opening track had left things at. Obviously the two saxmen/flauters were often taking up after Miekausch's piano, Coltrane is never far away, but the album is resolutely rock- funk in spirit as evident with Geisha. The next track Vacuum Cleaner Dance and Paranoidl are definitely more fusion-like approaching Weather Report or RTF. A steady bass beat is slowly overtaken by a twirling piano first than a synth, on what is (IMHO) the album's centrepiece Fly Away before heading towards Brand X-type of fusion before veering Trane-like. The closing Talle (after the village where they rehearsed) is an excellent calm mid-tempo track where Dömling's guitar is finally heard, dubbed over his funky bass line.

The GOD reissue (avoid the Germanophone bootleg) comes with four bonus tracks, three of which were live in 74 and the fourth from 75, with Free Clinic announcing the colours but is thankfully not veering into atonal improvs but ending at bit shoddily. On the whole, those bonus tracks present a different facet of the band, but if clearly not linked to the original album, the contrast being evident), they do not shock the listener much and it would be unfair to say the hinder the album's rating.

With the controversial artwork dispute leading the band onto another label, and Miekausch re-joining Embryo, MB would record a few more albums with an ever- changing line-up. In the meantime, this album is one brilliant example of the day's JR/F and if not groundbreaking, this is typically the type of album that consolidated the broken ground. Excellent and much worth the spin."

Sean Trane @ ProgArchives

01 Julia (3:54)
02 20th Century Break (5:02)
03 Geisha (5:23)
04 Vacuum Cleaners Dance (5:17)
05 Paranoidl (4:20)
06 Fly Away (7:46)
07 Talle (5:40)
Live Bonus Tracks 08 Free Clinic (6:42)*
09 Voodoo Dance (6:13)*
10 Paranoidl (3:43)*
11 Vloflutho (5:00)**

*Recorded live at Zür Grille, Minden, Germany, on April 13th 1974 from the audience by Hermann Braunschmidt using a Sony TC-377 reel-to-reel recorder with OEM "Quelle Senator" cardiod electret mics.
**Recorded live at Open-Air Concert Vlotho-Winterberg, Vlotho, Germany, on June 28th 1975 from the soundboard by Dieter Dierks.

Norbert Dömling - bass, guitar
Friedeman Josch - flute, sax
Jürgen Benz - sax, flute
Lutz Oldemeier - drums
Dieter Miekautsch - keyboards

Originally released as Nova 6 22030 in 1974.



sexta-feira, 20 de setembro de 2013

The Illinois Speed Press - The Illinois Speed Press (1969 us wonderful hard/blues rock with country touches, 2013 reissue) Flac

A alguns anos eu procurava por uma cópia dos dois álbuns dessa banda americana de blues-rock, no entanto por ser um item raro os únicos itens encontrados (2 em 1 CD) alcançavam quantias exorbitantes, mas eis que para minha surpresa a alguns meses eu descobri que o primeiro álbum havia sido relançado. Que felicidade!; ainda mais que o debut álbum é muito melhor que o segundo. Desfrutem!

Illinois Speed Press was a Chicago-spawned band whose sound combined elements of R&B and country music in a powerful double-lead-guitar attack. It was enough to turn them into stars in Chicago, get them a contract with a major label, and a move to Los Angeles, paving the way for longtime careers for their two guitarists. 

Though the Illinois Speed Press was a late-'60s phenomenon in Chicago, their roots went back a full decade, traceable to a late-'50s band called "the Capitols" (no relation to the soul outfit of that name), who played local high school functions and the YMCA. They began a series of name changes — some voluntary and some imposed by outside forces — in the early '60s, most of which reflected the changing musical sensibilities of the era. The first came in 1961, to the Mus Twangs (or Mus-Twangs), according to Linda Amicarelli in a 1997 article for the Alabama Music Hall of Fame.

As their name hinted, they were primarily an instrumental outfit, and cut a surf-style instrumental version of Irving Berlin's "Marie" (backed with a piece called "Roch Lomond") on the local Nero label that was good enough to attract the attention of the Chicago-based Mercury Records, which picked it up for national distribution on the company's Smash Records subsidiary. 

That record didn't get very far in terms of securing the band's future, and in the wake of the British Invasion, the appeal of instrumental bands waned quickly, and by 1964, the group had added more vocals and transformed themselves into "the Gentrys" with a repertory that encompassed the Beatles and the Righteous Brothers, among other top contemporary acts. 

They didn't keep that name very long, however, as a Memphis-based band had a prior claim on that moniker, and by late 1964 they'd become the Rovin' Kind. It was at this point that the personnel began to solidify around two or three key members: Alabama-born guitarist/singer Paul Cotton, who'd been with the outfit since 1959, and had come to music as an admirer of Les PaulScotty MooreDuane Eddy, and James Burton; and Kal David, a Chicago-born guitarist/singer whose influences were blues and R&B, and who had previously played with a band called the Exceptions (whose ranks included Peter Cetera, later of Chicago, and future Buckinghams member Marty Grebb), which had recorded briefly for Vee Jay Records. 

Between Cotton and David, the group generated a powerful and distinctive guitar-based rock & roll, and they were good enough to record several singles for Dunwich Records — the other members were Mike Anthony on keyboards and vocals, who also wrote some of their songs,Keith Anderson on bass (later succeeded by Rob Lewine), and Fred Page on the drums. 

But it was Cotton and David who were the main source of attention from listeners with their double-lead guitar configuration. None of the group's singles performed spectacularly, but the Rovin' Kind themselves were something else, again — they were good enough to win a regional battle-of-the-bands contest against some 80 rivals and, for their reward, got flown to L.A., where they were featured on American Bandstand, miming a pair of songs, and also got to do a club performance in San Francisco. 

That exposure was great, but it was back home where their work suddenly began to pay off when, at a performance at the Chicago Whiskey-A-Go-Go, they were seen by producer James William Guercio, who signed them up and got them a contract with Columbia Records' Epic label under their new name, Illinois Speed Press. The band's sound was guitar-based, and a mix of rock & roll, soul, and country, reflecting the divergent tastes of the members. 

They subsequently moved to Los Angeles, where they worked for a time as the house band at the Whiskey-A-Go-Go, and also opened for acts such as Steppenwolf and Chicago(which was also produced by Guercio). And among the up-and-coming groups that they played with in 1969 and 1970 was the country-rock outfit Poco

The band's self-titled debut album favored David's R&B orientation, though it had several Cotton songs (one of which, "Get in the Wind," would be completely reinterpreted by Poco) and some country elements. It was well received critically, but didn't make too much of an impression on the charts; their second album, Duet, which was much more country-oriented, was released in 1970, by which time the group had seemingly run its course. Illinois Speed Press split up that year, owing to Cotton's andDavid's differing musical directions: David wanted to create more of an R&B-based sound and headed for San Francisco where, in conjunction with former Electric Flag bassist Harvey Brooks, he formed the Fabulous Rhinestones, who went on to record in their own right as well as perform on-stage with such luminaries as John Lennon and Yoko Ono

Cotton stayed in Los Angeles, where he was approached by Richie Furay, the co-founder of Poco, who remembered him from his Illinois Speed Press performances on the same bill with his band; he was asked to audition as the possible replacement for co-founder Jim Messina, who was planning to leave the band. Cotton won the spot and has been with the band ever since, right into the 21st century.  
(Biography by Brude Eder)

domingo, 15 de setembro de 2013

Hyldemor ‎– Glem Det Hele (1978 fabulous danish psychedelic/soft rock, 2013 remastered) Flac

O mundo de sites compartilhadores de música é fantástico inclusive pelas amizades que podemos iniciar e também pela troca de conhecimentos musicais que compartilhamos com as pessoas do mundo todo. Eu agradeço imensamente ao meu camarada Mr. Morgan, da gélida Escandinávia, pois foi através dele que eu conheci esse fabuloso álbum. Desfrutem!

It is with great pride that Hyldemor 's peerless album " Glem Det Hele " in February issued on CD for the first time ever. Pride is partly from the undersigned , and of the many people who once were involved in both the band Hyldemor in this album and last but not least among His recovery 's family and many friends. The original album was released in 1978 on LP record and music cassette and has never since been reprinted . Thus there is only this one warehouse and a fairly well-kept copy traded today antiquarian for 750 dollars and upwards .

Previously there have been attempts to get the album reissued but former directors of the record company has flatly rejected this. For a long time we have had a suspicion over this may be due to the original master tapes were lost, it turned out not to be the case .

As a completely unofficial chairman of the fan club , I decided half a year ago to make a new attempt and started to investigate what was up and down in the case. Fortunately, the current director of the record company Sony by another casting than the earlier and he immediately sent someone out to the store where all the company's master tapes are secured.
And it turned out that the original master tapes were safely out there and shortly after I sat with the two master tapes from Sweet Silence Studios in 1978 , one band per . side of the plate . The tape was sent to Flemming Rasmussen which was one of the technicians in the original album and for a gentle heating of the tape ( in order to ensure that the tape can be played back ), it was transferred digitally. And the play showed that the band was in perfect condition , it sounded simply fantastic with details not previously be heard . So without so much fuss was music remastered and is now better than ever.

We pondered for a long time how the re-release would be made . Should we add demos, live recordings , previously unreleased songs, we should put Hyldemor 's contribution to the conn . Christiania plate and Fix and Ready on as bonus options were obviously numerous. In the pursuit of material that could be included in the re-release appeared a Revox reel tape up with a song that everyone had forgotten . A song that was recorded and mixed the album but for space reasons joined on the finished album (since recorded Lone Kellermann song with another title and the new arrangement , but that's another story). And suddenly it was clear that where any other material do not as such belonged to forget the whole , it was this "new" song - "My Best Friend " - the perfect bonus and also did the re-release complete and is now inside the team all the songs that were made to this particular plate . The rest of all the other material that is will have to wait for another time and , moreover, already long since released two CDs with concert footage and a series of demos. The "new" song was not in the same sonic quality as the master tape for the album but great skill by Flemming Rasmussen did that number again appears as it was originally made ​​and it is the bonus track at the end of the CD. ( Translated from the original text in Danish language )

Hans Vinding website: http://www.hansvinding.dk/

sábado, 7 de setembro de 2013

Wildfire - Smokin (1970 us splendid heavy fuzz and psychedelic rock, 2006 reissue - FLAC)

Heavy/hard rock com "guitar fuzzy", reclamar do quê? Esplêndido! Desfrutem!

It began and begins again in California. Donny approached Randy and asked him to be in a band he was putting together. Randy agreed, although he wasn’t certain about the bass player or the singer.

The name for the band came about one night when the bass player’s younger brother, a child at the time, said, “Well, what about Wildfire?” Everyone laughed at first, because the suggestion came from a “little kid,” but then the laughter stopped and someone said, “Hey, that’s a really good name.”

One night Randy and Donny were playing in a band at an underground club in Huntington Beach. Danny walked in as part of the audience, accompanied by 2 chicks. At the break Danny said, “I like the way you play, can I jam with you guys?” The Sixties, the time of free love, of free music. Walk into a club today and ask the band if you could jam with them. Right!

Randy asked Danny what he played, and Danny replied, “bass, keyboards and vocals.” Randy thought that if this guy is any good, he could replace his bass player AND the singer. After the break, Danny got on stage with Randy and Donny and after Danny’s first note, history was in the making!

The main venue for the band in California was Finnegan’s Rainbow, a nightclub in Orange County owned by Syl Grove.

Soon after the association with Danny, the band began rehearing in a house on 19th Street in Costa Mesa. They had been together only 3 weeks when they were offered the opportunity to play an outdoor concert at the University of California at Irvine (UCI), headlining Lee Michaels.

There were 8 or 10 other bands on the bill, including Love, and Wildfire went on right before Lee Michaels. Thousands of people showed up, including people from Finnegan’s Rainbow. Soon after the show Wildfire was asked to be the house band at Finnegan’s, playing 5 nights a week.

After only a few appearances, lines formed around the block waiting to get into the club and hear the band.

Another memorable concert was at an obscure location in the hills above Laguna Beach known as the “Top of the World,” a remote spot available at that time only via a dirt road. Wildfire pioneered the concept of “word of mouth” advertising, and told a small number of people about the venue.

The band knew a man who worked for the Aliso Creek Water District, and he had the keys to all of the locked gates. Given entrance, the roadies set up the gear on a flat-bed truck with a 10kW gas generator. About 500 people came through the gates, settled into the beautiful valley setting, and the gates were locked once again.

The Top of the World concert stands as one of the epitomes of “peace/love/joy.” There was no violence. No arguments. No “hassles,” as they said back then. The audience was as much in love with the music as the boys were making it. As was fitting, the generator ran out of gas on the last song, the second encore, “Quicksand.”

There were rumors that the Orange County Sheriff’s Department personnel were outside the gates wondering where all that music was coming from, hearing the cheers of 500+ people from somewhere up on that mountain!

The Top of the World concert stands out in a series of outdoor concerts in Southern California. The Ortega Festival, the last outdoor concert Wildfire did in California, was much larger, almost 2,000 people, and the organizers were not ready for the crowds.

Wildfire played at the end of the day, and by that time, the venue had become a dust bowl, covering the guitar strings with dirt. It was the last outdoor venue Wildfire played until they came to Texas.

Prior to the Ortega Festival, Wildfire had played at the Merced County Fairgrounds, opening for Elvin Bishop and Santana. It was a typical county fair situation, with people from the surrounding areas coming to enjoy a day of county fair activities. The bands performed outside in the afternoon, and then were to perform inside a convention center that evening.

Wildfire created such a stir with their loud amplification and high-energy original songs that other more established bands were in awe of their musical power. Thousands of faces turned away from the main stage and started grooving on this powerful trio.

Ultimately, the name acts asked the promoters to cancel the indoor appearance of Wildfire, and as usual, money spoke. Despite the pleas of the audience, Wildfire was not allowed to perform that evening.

Wildfire had better luck with the Laguna Beach movie theater. One night Randy was walking past the theatre, right across from the beach, thinking that it would be a great place to play after the movies were finished.

He walked in and asked for the manager, who happened to be there, and told him of his idea. Several weeks later the manager called Randy and said that his theatre was about to go out of business, so he had nothing to lose by adding bands at midnight.

The boys of Wildfire were geared for the show and had friends doing the promo work. The place was packed and the crowd was on its feet by the end of the show. That single night launched a concert series on Friday and Saturday nights that lasted nearly 4 years. Jerry Garcia and other groups of international acclaim played there.

It was at this venue that Wildfire opened for Blue Cheer in the late 1960’s. The local attention paid to Wildfire assured that any name act would find a packed audience.

A Texas promoter heard Wildfire in Southern California and brought them to Austin to play a private concert at The Hill On The Moon, a 55-acre ranch north of Austin by the lake. Because they were so intense and so ahead of their time, they became an instant hit locally in the Austin area.

Austin is home to The University of Texas at Austin, and with approximately 40,000 students in the late 1960’s, it was the perfect place to live during the academic school year. The band returned to Southern California during the summer.

The boys loved the college campus, mainly for the beautiful Texas women! At one point, they lived at The Dobie, a high-rise, off-campus, co-ed dorm near the University. The Dobie had a “hippie theater” in it, and in exchange for a concert once a week, the boys lived free in the building for a while.

The Armadillo World Headquarters was a favorite venue for the band (www.awhq.com.) The October, 1970 concerts opening for Freddie King, brought Wildfire to the attention of more Austin music lovers.

The two-night stand was memorialized in a poster no longer available, but viewable on the website www.classicposters.com. Freddie King was not traveling with his own band, and Jimmy Vaughn’s band at the time backed him up.

Randy remembers that Freddie did not even carry extra guitar strings, and that on both evenings Randy had to give Freddie an e-string before the show.

At that time in Austin, the biggest draw next to Wildfire was Krackerjack. Krackerjack had a winning format – they wrote most of their own stuff and people could dance to their music all night long.

With both bands on the ticket, the promoters and club owners were always pleased – Krackerjack sold a lot of beer and Wildfire sold a lot of tickets. Stevie Ray Vaughan played with Krackerjack for a while.

Charlie Hatchett, of the Hatchett Talent Agency, which is still alive today, booked them in and around the Austin area.

The band drew a different crowd in Austin when they played at Maggie’s, an after-hours coffee house near the Holiday Inn on East Avenue somewhere between River Street and First Street. People would stay all night at Maggie’s, listening to music and discussing Viet Nam.

Many a person who contributed memories to this history confessed a crush on Miss Maggie! We are still looking for Maggie. If you have any knowledge of how to find her, please send an e-mail to the band.

Wildfire frequently played at The Jam Factory in San Antonio, a club owned by Joe A. Miller. Here they opened for the Allman Brothers, when Dwayne Allman was still alive and the band was rocking.

Wildfire played at a Port Arthur surfing contest where the hotel would not let them check in because of their long hair. This performance marked the first time Donny was using Sparkle drumheads and they broke!

Headlined by Doug Sahm and the Sir Douglas Quintet, Wildfire played at the San Antonio Coliseum. ZZ Top was also one of the opening acts.

Another obscure venue where the band played often and to rave reviews was at Jim Marlin’s club in Brownwood, a small town in West Texas. A picture of them playing this club is on the CD release of the original demo album.

The 1970 Demo Album

When Wildfire determined it was time to cut a demo album, they began in California at the Beach Boys’ studio, putting down the bass and guitar tracks. Wildfire guitarist Randy Love is Beach Boy Mike Love’s cousin.

A Texas promoter convinced the band that Texas was the place they wanted to be and the place they wanted to record, and the boys returned to Austin, eventually ending up at Sonobeat’s Western Hills Drive studio toward the end of the year.

There they cut a demo of original music, 8 power-packed songs of timeless rock and roll. Sonobeat owner Bill Josey, Sr. produced and engineered this demo album which, like all of Sonobeat’s classic demos, was released in a plain white jacket with hand-written numbers on white stickers.

According to Pat Quilter, “to my knowledge, this was the only recording of Quilter amps used at full power.”

In addition to the few copies given out in Austin, the demo was sold at Sound Spectrum, a record store in Southern California owned by Jimmy Otto at the time. Wildfire gave only 100 albums to the store, and they were sold out in 2 days.

The store begged fore more, and Sound Spectrum was given an additional 100 albums. They were sold out in a matter of hours, setting an all-time record albums at the store, per Jimmy Otto.

The authorized demo album has a white cover with an adhesive label. The label on the vinyl reads “Primo” and was drawn by Randy Love. Autumn Leaves and BMI were on the label.

While the internet sites mention that only 4 copies exist, we know of a few more!


There are 2 releases set for fall, 2006, both of which have been authorized by Wildfire.

A digitally remastered CD will be available through this website in November, 2006. Check here offen for the release date and purchase it through our store.

A vinyl edition of Wildfire's 8-song demo album will be released in November, 2006, by Shadoks Music. This I release was authorized by Wildfire and made in cooperation with the band. Go to www.psychedelic-music.com .