Wednesday, December 31, 2008

Pink Floyd-The First Singles(Reupload)

Pink Floyd-The First Singles @320

1 Arnold Layne
2 Candy And A Currant Bun
3 See Emily Play
4 Scarecrow
5 Apples And Oranges
6Paint Box


See Emily Play

Saturday, December 27, 2008

King Crimson-Larks Tongues In Aspic

Info By Wiki:
Larks' Tongues in Aspic is a 1973 album by the British progressive rock group King Crimson. This album is the debut of King Crimson's third incarnation, and features original member and guitarist Robert Fripp and new members John Wetton (vocals, bass), David Cross (violin, mellotron), Jamie Muir (percussion), and Bill Bruford (drums), as well as lyricist Richard Palmer-James. The album sees the band incorporate into its sound violin and also various exotic percussion instruments, including sheet metal and mbiras. The title was invented by percussionist Jamie Muir and is meant to signify what he heard in this album's music: something fragile and delicate (larks' tongues) encased in something corrosive and acidic (aspic).

The album opens with a long experimental instrumental piece titled "Larks' Tongues in Aspic, Part One." After that there are three vocal pieces, "Book of Saturday", "Exiles" and "Easy Money." These are followed by two more instrumentals, "The Talking Drum" and "Larks' Tongues in Aspic, Part Two." The instrumental pieces on this album have strong jazz fusion influences, and portions have an almost heavy metal feel. The angry, angular mood of this album is largely credited to the influence of Béla Bartók

King Crimson-Larks Tongues In Aspic @320
1 Larks Tongues in Aspic Part One
2 Book of Saturday
3 Exiles
4 Easy Money
5 The Talking Drum
6 Larks Tongues in Aspic Part Two

Source: Torrent

Friday, December 26, 2008

The Jimi Hendrix Concerts-A Collection Of His Most Exciting Concerts (Reupload)


The record industry probably has no greater sin on its conscience than the artistic and commercial rape of Jimi Hendrix. Unofficial releases of old hack studio sessions with Curtis Knight and the Isley Brothers dogged him during his lifetime. Since his death in 1970, "greatest hits" reruns, concert and studio-outtake compilations and a virtual torrent of pre-Experience dross have flooded the marketplace. Precious few of them have shown even a fraction of the care and imagination Hendrix diligently applied to record making.
At first glance, The Jimi Hendrix Concerts seems a noble attempt to right a few of those wrongs. Unlike other live Hendrix albums, bootlegs excepted, this set attempts to simulate a complete Hendrix concert performance with selections taken mostly from a 1968 stand at San Francisco's Winterland with the original Experience. Yet for all the incendiary rage and manic daring with which Hendrix attacks his guitar on nowclassic blasts like "Fire" and "Voodoo Chile (Slight Return)," this album is hardly "a collection of his most exciting performances," which is how it's billed on the back cover. For starters, producer Alan Douglas has put these tracks through a studio ringer that compresses the Stratocaster shriek that shook the world into a seductively muted sting. Where "Little Wing"–with its high cathedrallike grace and serenading melody – should sing, it merely shrugs, the dulled edge of Hendrix' guitar aggravated by the moping pace of the Experience. And compare the slightly glazed guitar tone of the breathless opener, "Fire," with the savage, unretouched bite of "Johnny B. Goode" on the now deleted Hendrix in the West.
More significant, The Jimi Hendrix Concerts finds Hendrix, a year after Monterey, already caught between his rock & roll muse and the hard place of stardom. His frustration with the "wild man of rock" image is evident in the rote recitation of his Monterey show-stopper, "Wild Thing." He introduces a London 1969 take of "Stone Free" as a "blast from the past," opening up the song in an extended solo that falls back on familiar licks and feedback grandstanding before dissolving into a blustery Mitch Mitchell drum break. There are moments when he breaks gloriously free. "I Don't Live Today" explodes in metallic shards of guitar and feedback flames, Hendrix painting white-noise abstractions with a stupefying harmonic logic. "Are You Experienced" is rich in dissonant grandeur, an electrifying example of Hendrix' orchestral manipulation of high volume and harmonic overtones. His inventive blues expansions get ample space in "Bleeding Heart," and the soul at the heart of it all hits a locomotive peak in the passionate finale, "Hear My Train a-Comin'."
On the whole, this is a marked improvement over previous "official" live issues, and occasionally it approaches his real genius. But the emasculating postproduction and sometimes confused performances are a distorted mirror of Jimi Hendrix' true achievements. The Jimi Hendrix Concerts, for all its good intentions, is not the real experience

The Jimi Hendrix Concerts @320
1. Fire
2. I Don't Live Today
3. Red House
4. Stone Free
5. Are You Experienced?
6. Litte Wing
7. Voodoo Chile
8. Bleeding Heart
9. Hey Joe
10. Wild Thing
11. Hear My Train a Comin'
12. Foxey Lady


Wednesday, December 24, 2008

Country Joe-Save The Whales

From Album Paradise With An Ocean View released on October 1976


Info By Wiki:

Lee, who had lived in Los Angeles since the age of five, had been recording since 1963 with his bands, the LAG's and Lee's American Four. He'd also produced a single, "My Diary", for Rosa Lee Brooks in 1964 which included Jimi Hendrix on guitar.[1] A garage outfit, The Sons Of Adam, which included future Love drummer Michael Stuart, also recorded a Lee composition, "Feathered Fish". However, after viewing a Byrds performance, Lee determined to join the newly minted folk-rock sound of the Byrds to his primarily R'n'B style. Soon after, he formed The Grass Roots with guitarist John Echols (another Memphis native), bassist Johnny Fleckenstein and drummer Don Conka. Byrds roadie Bryan MacLean joined the band just before they changed their name to Love, spurred by the release of a single by another group called The Grass Roots.

Love started playing the L.A. clubs in April, 1965 and became a popular act. At this time, they were playing extended numbers such as "Revelation" (originally titled "John Lee Hooker") and getting the attention of such luminaries as the Rolling Stones and the Yardbirds. The band lived communally in a house once owned by horror actor Bela Lugosi, and their first two albums included photos shot in the garden of that house.

Signed to the Elektra Records label, the band scored a minor hit single in 1966 with their version of Burt Bacharach's "My Little Red Book". In the meantime, Lee had dismissed Conka and Fleckenstein, replacing them with Alban "Snoopy" Pfisterer and Ken Forssi (from a post-"Wipeout" version of The Surfaris). Their debut album, Love, was released in May 1966, and included "Signed D.C" and MacLean's "Softly To Me". The album sold moderately well and reached #57 on the album charts.

In August, 1966, the single "7 and 7 Is" became their highest-charting at #33. Two more members were added around this time, Tjay Cantrelli (aka John Barberis) on woodwinds and Michael Stuart on drums. Pfisterer, never a confident drummer, switched to harpsichord.

Their musical reputation largely rests on two albums issued in 1967, Da Capo and Forever Changes. Da Capo, released in January of that year, included rockers like "Stephanie Knows Who" and "7 and 7 Is," and melodic songs such as "¡Qué Vida!" and "She Comes in Colors". Gone were the Byrds influences and jangly guitars, replaced by melodically airy art-songs with predominantly jazz and classical influences. Some critics derided it as a one-side album, with the six songs on Side One contrasting markedly with the lack of focus displayed on the other side, which was devoted entirely to the rambling, unfocused, 19-minute "Revelation". Cantrelli and Pfisterer soon quit the band, leaving it as a five-piece once again.

Forever Changes, released in November 1967, is a suite of songs using acoustic guitars, strings and horns that was recorded while the band was falling apart as the result of various abuses. Producer Bruce Botnick originally planned to record the entire album with session musicians backing Lee and MacLean but after two tracks had been recorded in this way the rest of the band were stung into producing the discipline required to complete the rest of the album in only 64 hours. Writer Richard Meltzer, in his The Aesthetics of Rock, comments on Love's "orchestral moves", "post-doper word contraction cuteness" and Lee's vocal style that serves as a "reaffirmation of Johnny Mathis". Forever Changes included one modest hit single, the MacLean-written "Alone Again Or", while "You Set the Scene" went on to receive airplay from some progressive rock radio stations. By this stage, Love were far more popular in the UK, where the album reached #24, than in their home country, where it could only reach #154. Love, did, however, have a strong following in the U.S. at the time among cognoscenti of the cutting edge.

MacLean, suffering from heroin addiction, soon left the band, as did all the other members except Lee. Echols and Forssi also fell prey to the ravages of heroin addiction and disappeared from the scene. Arthur Lee and a reconstituted Love continued to record fitfully until the late 1970s before finally disbanding. The new version of Love, which included Jay Donnellan and Gary Rowles on guitars, Frank Fayad on bass, and George Suranovich on drums as well as Lee, played in a style very different from the band's previous line-up.

After spending six years in prison in the 1990s for firearms offences, Arthur Lee began to play Love's classic songs in concert by reuniting with the members of Baby Lemonade. In the early 2000s, co-founder of Love and original guitarist Johnny Echols rejoined his partner, Arthur Lee, in this line-up and performed as "Love with Arthur Lee and Johnny Echols". This reformed group toured for several years, frequently performing Forever Changes in its entirety.

Bryan MacLean died in Los Angeles of a massive heart attack on December 25, 1998, while having dinner with a young fan who was researching a book about the band. He was 52. Arthur Lee died in Memphis, Tenn., on August 3, 2006, of complications from leukemia. He was 61.

The Album
is the eponymous debut by the Los Angeles-based band Love. Twelve of the album's fourteen tracks were recorded at Sunset Sound Recorders in Hollywood on January 24-27, 1966. The remaining two tracks ("A Message To Pretty" and "My Flash On You") come from another, undocumented session.

One of the first rock albums issued on then-folk giant Elektra Records, the album was anchored by the group's radical reworking of the Burt Bacharach-Hal David song "My Little Red Book" which had guitar riffs that gave Syd Barrett some inspiration to write the Pink Floyd song "Interstellar Overdrive" which is on Pink Floyd's album The Piper At The Gates Of Dawn, the anti-drug anthem "Signed D.C." (allegedly a reference to one-time Love drummer Don Conka), and the poignant "A Message to Pretty". The stark instrumental "Emotions" is used uncredited in Haskell Wexler's 1969 film Medium Cool as a recurring theme.

"My Little Red Book" was featured over the final credits of the movie "High Fidelity" in 2000 starring John Cusack and Jack Black

Love-Love @320

1 My Little Red Book (Mono Mix)
2 Can't Explain (Mono Mix)
3 A Message To Pretty (Mono Mix)
4 My Flash On You (Mono Mix)
5 Softly To Me (Mono Mix)
6 No Matter What You Do (Mono Mix)
7 Emotions (Mono Mix)
8 You I'll Be Following (Mono Mix)
9 Gazing (Mono Mix)
10 Hey Joe (Mono Mix)
11 Signed D.C. (Mono Mix)
12 Coloured Balls Falling (Mono Mix)
13 Mushroom Clouds (Mono Mix)
14 And More (Mono Mix)
15 My Little Red Book (Stereo Mix)
16 Can't Explain (Stereo Mix)
17 A Message To Pretty (Stereo Mix)
18 My Flash On You (Stereo Mix)
19 Softly To Me (Stereo Mix)
20 No Matter What You Do (Stereo Mix)
21 Emotions (Stereo Mix)
22 You I'll Be Following (Stereo Mix)
23 Gazing (Stereo Mix)
24 Hey Joe (Stereo Mix)
25 Signed D.C. (Stereo Mix)
26 Coloured Balls Falling (Stereo Mix)
27 Mushroom Clouds (Stereo Mix)
28 And More (Stereo Mix)
29 Number 14
30 Signed D.C. (Alternate Version / Previously Unissued)



Sunday, December 21, 2008

Free-All Right Now (Isle Of Wight Festival 1970)

Source: Emule


Thursday, December 18, 2008

Amazing Blondel-England

Info By Wiki:
John Gladwin and Terry Wincott had both played in a loud "electric" band called Methuselah. However, at some point in Methuselah concerts, the duo would play an acoustic number together: they found that this went down well with the audiences and allowed them to bring out more of the subtlety of their singing and instrumental work. They left Methuselah in 1969 and began working on their own acoustic material.

Initially their material was derived from folk music, in line with many of the other performers of the time. However, they began to develop their own musical idiom, influenced, at one extreme, by the early music revivalists such as David Munrow, and the other extreme, by their childhood memories of the Robin Hood TV series, with its pseudo-mediaeval soundtrack by Elton Hayes.

The band was named after Blondel, the musician in the court of Richard I. According to legend, when Richard was held prisoner, Blondel travelled through central Europe, singing at every castle to locate the King and assist his escape. This name for the band was suggested by a chef called Eugene McCoy who listened to some of their songs and commented: "Oh, very Blondel!" and they began to use that name. They were then advised to add an adjective (in line, for example, with the Incredible String Band) and so they became "Amazing Blondel".

Their first album The Amazing Blondel was recorded in 1969 and released by Bell Records. It was directed by legendary session guitarist Big Jim Sullivan. At about this time, Eddie Baird (who had known the other members at school) joined the band. Following what Baird described as "a disastrous 'showbiz' record signing", Amazing Blondel were introduced, by members of the band Free, to Chris Blackwell of Island Records and Artists. Blackwell signed them up to Island, for whom they recorded their three defining albums, Evensong, Fantasia Lindum and England.

In Baird's words (in a 2003 interview) the band "adored recording". They recorded the Island albums in the company's Basing Street Studios which, at that time, was the source of some of the most innovative independent music in Britain.

They toured widely, both in their own concerts and as a support act for bands such as Genesis, Procol Harum and Steeleye Span. On stage, they aimed at technical precision of the music and versatility of instrumentation (with most concerts involving the use of some forty instruments) interspersed with banter and bawdy humour. However, there was a conflict between their managers' desires to organise ever more demanding tour schedules and the band's own wish to spend more time writing material and working in the studio. In the end, this led to the departure of John Gladwin (who had written most of their material) from the band in 1973, and the remaining two members decided to continue as a duo, although they shortened the band name simply to Blondel. In this new format, they went on to record several more albums with a number of guest musicians, including Steve Winwood and Paul Kossoff.

By the end of the 1970s, with Punk being the largest selling music genre and with folk losing popularity, Baird and Wincott stopped performing under the Blondel name. John Gladwin reinherited the name and began to tour universities with bandmates, and former session players for the original Blondel, Adrian Hopkins and Paul Empson. This line-up had originally been billed as "John David Gladwin's Englishe Musicke".

The original band reformed in 1997 and produced a new album Restoration. They have since played at venues across Europe in the period 1997–2000. As of 2005, Terry Wincott has recently had a successful heart bypass operation, which curtailed the band's plans for future concerts.

In 2005, Eddie Baird played two concerts in a duo with acoustic guitarist and singer songwriter Julie Ellison and is currently working on a collaboration with Darryl Ebbatson, called "Ebbatson Baird".

Amazing Blondel-England @320
1. Seascape
2. Landscape
3. Afterglow
4. A spring air
5. Cantus Firmus to counterpoint
6. Sinfonia for guitar and strings
7. Dolor Dulcis (Sweet Sorrow)
8. Lament to the Earl of Bottesford Beck



Wednesday, December 17, 2008

Traffic-Best Of

Traffic-Best Of @320

1. Paper Sun
2. Heaven Is in Your Mind
3. No Face, No Name, No Number
4. Coloured Rain
5. Smiling Phases
6. Hole in My Shoe
7. Medicated Goo
8. Forty Thousand Headmen
9. Feelin' Alright
10. Shanghai Noodle Factory
11. Dear Mr. Fantasy



Sunday, December 7, 2008

Black Widow-The Ultimate Sacrifice

Info By Wiki And M.C Strong's "The Great Rock Discography"

The band originally formed in 1966 as Pesky Gee.
They released their debut album Sacrifice in 1970.Perhaps better known than their music was the band's use of occult references in their music and their live performances, which were made more controversial with the mock sacrifice of a nude woman. These acts at time were very shocking but now a common use in the underground music scene Black Metal. The band attracted further controversy by consulting infamous witch Alex Sanders for advice.

Controversy aside, Sacrifice reached #32 on the UK Albums Chart.The band also performed at the Whitsun Festival at Plumpton, UK and at The Isle of Wight Festival 1970. By 1971, the band had moved away from its darker occult imagery in an effort to gain a wider audience, which was unsuccessful. Having replaced Bond and Box with Geoff Griffith and Romeo Challenger, Black Widow released the self-titled Black Widow album in 1971 and Black Widow III in 1972 (by which time Gannon had left, replaced by John Culley) to general disinterest before being dropped by CBS Records. The band recorded a full-length album, Black Widow IV, later in 1972 without a recording contract. It was not released then due to the band breaking up, shortly after replacing lead vocalist Kip Trevor, with another singer known as Rick "E" (born Frank Karuba; formerly of 'Plum Nelly').The album was finally released in 1997 on the Mystic Records label


Jim Gannon - Guitar
Zoot Taylor - Keyboards
Clive Jones - Saxophone
Kip Trevor - Guitar,Vocals
Bob Bond - Bass
Romeo Challenger - Drums(Later Helped Form Showaddywaddy)

Black Widow-The Ultimate Sacrifice @320

Remastered reissue of 1970 debut album with bonus tracks
1. In Ancient Days
2. Way to Power
3. Come to the Sabbat
4. Conjuration
5. Seduction
6. Attack of the Demon
7. Sacrifice
8. In Ancient Days (Demo Bonus Track)
9. Come to the Sabbat (Demo Bonus Track)
10. Conjuration (Demo Bonus Track)
11. Seduction (Demo Bonus Track)
12. Sacrifice (Demo Bonus Track)


Friday, November 28, 2008

Finch-Beyond Expression

Info By Progarchives

The foundation of Dutch progrock band FINCH was laid by bass player Peter Vink and drummer Beer Klaasse (both ex-Q65 and The KJOE). They were eager to play progressive music: Peter was impressed by the symphonic rock of YES and BEER by the improvised rock of MAHAVISHNU ORCHESTRA and CREAM. After some sessions and failed efforts to find a good singer, the new band switched to instrumental music with this line-up: Peter Vink, Beer Klaasse, the 19 year old "guitar virtuoso" Joop van Nimwegen and keyboard player Paul Vink. With two Vink’s in the band the name became FINCH, the English translation from this Dutch name. The EMI sub-label Negram was willing to invest in the new progrock band, in ’75 this resulted in the debut-album "Glory of the Inner Force" (worldwide sold 20.000 copies). New keyboard player Cleem Determeijer’s interplay with guitarist Joop sounded captivating and the first album was hailed by the music press. The single "Colossus" (’75) wasn’t successful but it’s now a hugh collector’s item. In ’76 the second album "Beyond Expression" was released, it was acclaimed as Album of the week by radio and tv broadcasting company Veronica and known music magazines were very positive. The future looked bright for FINCH: sold oud concerts, worldwide sales (15.000 copies) and in Japan FINCH became almost as popular as other Dutch progrock bands FOCUS and EARTH & FIRE! Unfortunately Cleem was no longer able to combine the music with his classical study, he was replaced by Ad Wammes and, due to musical disagreement, Hans Borsboom replaced Beer Klaasse. This new FINCH line-up released the third album entitled "Galleons of Passion" in ’77, it was not received very well though the sales flagged around the 11.000 copies. It turned out to be the band’s swansong until in ’99 the Dutch record company Pseudonym Records released a 2-CD, including fine demos of the "Galleons of Passion" album and exciting live material from ’76.

The first LP "Glory of the Inner Force" contains four melodic and often swinging compositions with strong echoes from YES. The keyboards sound tasteful (Hammond organ and Mellotron), the guitarwork is great with passionate solos and the rhythm-section plays solid (a grunting Rickenbacker bass). The second album "Beyond Expression" sound more original, inventive and dynamic with furious guitarplay and bombastic keyboards in four captivating and compelling tracks. A splendid album, a bit underrated because of the attention for the other Dutch progrock bands EARTH & FIRE, KAYAK and FOCUS. The third album "Galleons of Passion" is more in the vein of mid-GENESIS and sound pleasant but less captivating and contrasting. The 2-CD "The Making of...Galleons of passion/Stage" ’76” is mainly interesting because of the live-material: it’s layered with magnificent electric guitarplay (Jan Akkerman once told he was very impressed by Joop!) and great solos from Ad’s newly purchased Minimoog synthesizer. The live-CD contains the previously unreleased track "Necronomicon" (over 15 minutes), a ‘typically Seventies live progrock composition’ with lots of solos on guitar, keyboards and bass

- Cleem Determeijer / keyboards
- Beer Klaasse / drums
- Joop Van Nimwegen / guitars
- Peter Vink / bass

Finch-Beyond Expression @320

1. A Passion Condensed (20:05)
2. Scars On The Ego (8:51)
3. Beyond The Bizarre (14:24)



Thursday, November 27, 2008


Info By Wiki:
Greenslade is an English progressive rock band. It was originally formed in November 1972 with the following line-up:

Dave Greenslade - keyboards & vocals (born 18 January 1943 in Woking, Surrey)
Tony Reeves - bass guitar (born Anthony Reeves, 18 April 1943, in London)
Dave Lawson - keyboards & vocals (born David Lawson, 25 April 1945, in Hampshire)
Andrew McCulloch - drums (born 19 November 1945)

Greenslade and Reeves had been original members of Colosseum. Lawson was previously a member of Samurai and McCulloch was briefly a member of King Crimson, playing drums on that band's third album, Lizard (1970). Dave Clempson (ex Humble Pie) guests on Greenslade's third album, playing guitar on two tracks. Reeves left around that time and was replaced on the U.S. tour and subsequent fourth album, Time And Tide, by Martin Briley who also contributed on guitar. Greenslade announced their disbandment in 1976.

However, in 2000, Dave Greenslade and Reeves teamed up with drummer John Trotter and vocalist/keyboardist John Young, and recorded a new Greenslade studio album: Large Afternoon. A tour soon followed and this was recorded and subsequently released in 2002, Greenslade 2001 - Live: The Full Edition

Greenslade-Greenslade @320
1 Feathered Friends
2 An English Western
3 Drowning Man
4 Temple Song
5 Mélange
6 What Are You Doin' To Me?
7 Sundance


Wednesday, November 26, 2008

Pussy-Pussy Plays

Group Info Found on
Pussy's only self-titled album had been a mega-rarity LP (the collectors' wet dream) for many years before it was reissued on CD by "Hi-Note". Also, this is one of just a few strong albums that show the development of the Progressive Rock at the dawn of the genre. Beginning with Pink Floyd's "The Piper At the Gates of Dawn", 1967 (what a relevant title for the pioneer album of Progressive!) and "Saucerful of Secrets", 1968, through The Beatles self-titled double LP (or "White Album"), 1968, Clear Blue Sky's "Out of the Blue", 1968, Pussy's "Pussy", 1969, Colosseum's "Valentine Suite", 1969, and some others, that wonderful series of the first albums of the genre has been successfully concluded with King Crimson's "In the Court of the Crimson King". The latter, as the most mature, integral and interesting album of the genre in the 1960s, the first King of the Rocky Lands (and these are still difficult to access, for sure) also became the first essential landmark for further development of Progressive Rock. I've listened to "Pussy" more times than it is necessary for me to comprehend it and, this way, to get a more or less clear picture of the instrumental equipment the band used on this album. Thus, I am ready to tell you what I think about the album itself, about the band's line-up and those who apparently were just guest musicians on the album (I mean professions, but not the names of the musicians, of course). While it is obvious that Pussy were a quintet (there is a small photo of the band on the CD booklet cover), actually, there were more musicians involved in the recording process of this album.

The Album. So, since most of the songs on the album were performed with the use of all the same instruments (lead and rhythm acoustic and electric guitars, a few different keyboards, bass, drums, and voice), especially because all these instruments sound specifically, with the same character styles of playing them throughout the album, now I am sure that Pussy was exactly a quintet. (No, Pussy was a five-headed monster at the time!) Without guests, Pussy performed the following compositions of the album: All Of My Life, Comets, The Open Ground, Everybody's Song, and GEAB. I guess there were three guest musicians on the album. First of them was a female singer whose back vocals are clearly heard on the album's opening track Come Back June (maybe, she is June here, only masked with the dawn of the summer?) and on We Built the Sun (it must be great to build the sun in June, being in company with June). There are two more guests, however, on "Pussy", but unlike the female singer (she's a lady after all!), they two, oboe and cello players, turned out to be squeezed (involved!) in the only Tragedy on the whole album. Really, there are five songs and three instrumentals on the album, but only one of the latter pieces, Tragedy In E-Minor, is full of drama. But, what a wonderful piece it is in reality! Performed without rhythm-section, slow and loftily sad, Tragedy In E-Minor is filled with a lot of various, always beautiful and quite virtousic roulades and passages of minstrel-alike acoustic guitar and piano, (guest) oboe and cello, duets of acoustic piano and guitar, as well as with electric piano and guitar melancholy solos and interplays between them. Frequent changes of joint arrangements, diverse parts of each instrument, an obvious medieval feel all make Tragedy In E-Minor one of just a handful unique and beautiful (progressive, of course) instrumental pieces to come out of the 1960s. Both the other instrumentals differ from Tragedy more than radically (as well as the majority of tracks on the album in general). GEAB and Comets (what a proper title for this track!), both contain a wide variety of themes, solos and joint arrangements, and these are mostly powerful and sometimes highly bombastic, by no means ordinary things at the dawn of Progressive. Comets, as not Earthly entities, drive all over the universe, sometimes accompanied by an otherworldly growl and their, probably, own ghostly howls (created, though, by an Earthly engine called keyboards), as well as with such essential things as regular changes of themes, tempos and moods (both instrumentally and vocally), guitar, bass and keyboard solos, all of which form sometimes duets and trios. There are enough of unusual moves and sounds on GEAB too, though, I can't understand (up to now) if a real or 'synthetic' flute plays to the accompaniment of bass and rhythm-guitar in the beginning of this composition. Well, it's time to talk about the songs. While a few episodes on each of both the 'bombastic' instrumentals sound sometimes almost as Prog-Metal parts, all five songs are of such a kind of Classic Art Rock, in which the famous band Camel worked and still works. Changing, yet mostly plain (as there are few elements of other musical genres) typical Classic Art Rock structures of Come Back June, All Of My Life, We Built the Sun, The Open Ground, and Everybody's Song sounded very innovative at the time, as lots of those bands once and forever dubbed as the most influential on the creations of other bands, used practically the same structural schemes in their compositions. Changes of themes, moods, etc happen mainly within the same united (Art-Rock, for example) stylistics, while transformations into another genre (Prog-Metal, etc) are rare. The latter, however, doesn't prevent pure Art-Rock or Symphonic arrangements, typical for all songs of Pussy, from being complex and even intricate. The majority of vocals parts on the album I also regard as diverse, because the vocal palette here is really rich in emotions, especially dramatic, though using the female backing vocals only on two tracks doesn't look effective as a whole. Also, the album would have sounded richer if the accidental participants of Tragedy (they were just guests) had worked on each track.

Summary. Not as significant and intriguing as Pink Floyd's "The Piper At the Gates of Down", which is the very first album of Progressive in general, not as fast and skilful as Colosseum's "Valentine Suite", which is the first album of Progressive Jazz-Fusion, not as complex and perfect as King Crimson's "In the Court of the Crimson King", the first album of Classic Art Rock / Symphonic Progressive, not as heavy and quirky as Black Sabbath's self-titled one, the first album of Progressive Metal, Pussy's only album is, nevertheless, also one of the first albums of the Art Rock genre and Progressive in general. The main value of it has little to do with the fact of the birth and the first steps of the genre. "Pussy" is a very original and truly progressive musical work, which first of all is very interesting in itself. This album, released in the distant 1969, surpasses a lot of contemporary progressive albums, especially the so called wannabes and all other boring copyists and imitators of their idols. ("Don't idolize anyone!", - as the Holy Bible says...)

Pussy-Pussy Plays @320

1 Come Back June
2 All Of My Life
3 We Built the Sun
4 Comets
5 Tragedy In E-Minor
6 The Open Ground
7 Everybody's Song

Here :

Crosby Stills and Nash - Suite Judy Blue Eyes (Woodstock 69)

Monday, November 24, 2008

Blue Cheer - Outsideinside

Info By Wiki:

Outsideinside is the second album by Blue Cheer, released on PolyGram in August 1968. This album features writing contributions from all members along with two covers: "Satisfaction" by the Rolling Stones and "The Hunter" by Booker T. & the M.G.s (also covered by British rock band Free). The album was produced by Abe Kesh and engineered by Eddie Kramer, who had worked with Hendrix, The Rolling Stones and would later work with Led Zeppelin and KISS among others. The cover painting is by "Arab" and design by "Gut," legendary Hells Angel. The album was re-released in 1999 by Akarma Records (Italy based label) with an out-take from the sessions entitled "Fortunes." The album photography is by famed rock photographer Jim Marshall. This is the last album to feature the original Blue Cheer lineup as Leigh Stephens would leave the band after the album was released

Blue Cheer - Outsideinside @320

1 Feathers From Your Tree
2 Sun Cycle
3 Just A Little Bit
4 Gypsy Ball
5 Come And Get It
6 Satisfaction
7 The Hunter
8 Magnolia Caboose Babyfinger
9 Babylon
10Fortunes Bonus


No Password


1)Flamengo-Kuře v Hodinkách

Info By Bio by Hugues Chantraine:

Along with The Matadors, Flamengo were one of the earliest Czech groups that started out in the mid-60's as beat bands and recorded a bunch of singles on legal state apparatchik label. Their then-leader Frantisek Francl was a well regarded fuzzed-up guitarist and wrote most of their track (even if they did a cover of John Mayall's No Reply), but with time, the group changed line-up and with the arrival of the now-legendary vocalist Vladimir Misik and woodwind player Jan Kubik, the group's sound was dramatically affected and started sounding like a brass rock band, with a slightly more jazz twist than the better know US groups. They might be compared best with Colosseum and sometimes Traffic. Their sole album was set to be released in 72 on the state label Supraphon, but apparently was quickly banned by the regime. Nothing was heard from the musicians until 76, so most likely, they chose to lay low for a while.

If Vlad Misik remained a high-profile musician, the other members sometimes crossed his path, namely in Misik's Etc... But afaik, no one else from Flamengo remained in the spotlight for long.

Flamengo-Kuře v Hodinkách @320 Artwork Included

1. Kure V Hodinkach (Introdukce)

2. Rám Prístích Obrazu
3. Jenom Láska Ví Kam
4. Já A Dým
5. Chvíle Chvil
6. Pár Století
7. Doky, Vlaky, Hlad A Boty
8. Stále Dál
9. Kure V Hodinkach
10. Kazdou Chvíli Bonus
11. Týden V Elektrickém Meste Bonus


No Password.The album was downloaded via torrent

2)Blue Cheer-Vincebus Eruptum

Review by The Seth Man:

A crazy singularity, Blue Cheer’s debut album flows with a relentless feeling and attitude from the guts thrown as hard as possible against the studio wall and was captured as the double vulgar non sequitur tripped-out, biker Pig Latin-entitled vinyl slab, “Vincebus Eruptum.” This album shows Blue Cheer as much out of their time as they were ahead of it as they set down a bedrock hard representation of the earliest power trio to disregard the then-current vogue of electric blues and just concentrate on going for broke while slamming together truly groundbreaking noise in an approach null and void of everything except power, energy and a collective sense of defiance funneled through a truly unique barrage that makes “Vincebus Eruptum” an orgy of heaviosity and unanimous proponent of Rock music at one of it’s boldest heights. For its entirety, Blue Cheer keeps their snotty noses to the grindstone while kicking a bigger ass all the time: The overall strafing and forced landings of Leigh Stephens’ staccato-ed, running-pus blister burning guitar, Paul Whaley’s engine-room sweating and wholesale walloping of drums/cymbals/your head and Dick Peterson’s low-slung bass jabs while gruff strutting vocalising combine into a three-tiered crown of powerdrive so forceful and stripped down that the title of a single by Whaley’s previous band, The Oxford Circle accurately describes this decibellicose rampage: “Mind destruction.”Stephens’ overbearing, over-recorded and out of control Gibson SG guitar is strung with high tension wires that soar and sail upon successive waves of roaming feedback, surfing sustain and total disdain of the sonically correct as all three members donate a limb to a sonic third rail they piss on and subsequently jolt upwards into the stratosphere, luckily recording this album as it happened.To discuss “Vincebus Eruptum” in depth without any mention of its amped-up’n’over use of volume as abrasive soul cleanser would be nearly impossible because it defined their sound and set them apart so significantly from the swirling, fading Art Nouveau emanating forth from the majority of their San Franciscan contemporaries of the late sixties (With the possible exception of Shiver, who I’ve yet to hear due to a rare attack of caution I landed recently after checking out the very promising White Lightning, a heavy group formed by Zippy Caplan after his departure from The Litter. By all reports, it was nothing less than MC5-meets-Blue Cheer-meets-The Litter’s own “Emerge” but wound up sounding more molehill than even Mountain, dammit!)“Vincebus Eruptum” is a summation of a group head steeped in one of the most addled and economical rock albums, ever: six tracks equally split over two sides and although half of them are cover versions it’s all reduced to the unique sonic parallelogram pushing into over-amplitude-ness for its entire 31 and a half minute duration (I kid you not.) And Abe “Voco” Kesh’s production is every bit as gruff, crude and effective as Peterson’s vocals, recording the band at just a measure below their actual playing volume in order to capture its impact so the album itself would be as sonically true as possible. The dynamic range tips over from the introductory, pummeling waves that open the album’s first track, the utterly bent and highly flammable cover of Eddie Cochran’s “Summertime Blues” into a pace of intentionally slothful viciousness that continues unabated for the rest of the album. Everything sounds like the aural equivalent of a colour photograph printed off-register by an eighth of an inch so that it vibrates in four separate versions of black, magenta, yellow and blue and although obviously wrong, the sensation is so intriguing it keeps you hooked on gazing at its moirι pattern that suspends perceptional realisation but is such a wonder to behold, anyway. They drop their signal overload through six churning tracks: “Summertime Blues,” “”Rock Me Baby,” “Doctor Please,” “Out Of Focus,” “Parchment Farm,” “Second Time Around” and there’s not a single moment wasted at all.Equally impossible would be to leave unmentioned the effect The Jimi Hendrix Experience had on Blue Cheer (especially, their live performance at Monterey that began in distortion and ended in flames and topped off with many spins of their “Are You Experienced?” album) only because at first blush everybody thought that their cover of “Summertime Blues” was a little like ‘retarded Jimi’ (well, at least a high school comrade-in-rock and yours truly did upon first impact with “Vincebus Eruptum” for the first time in early 1980 and consequently were nonplussed by it all for ages) and I think I finally figgered out why. The easy answer is because two guitar phrases in “Summertime Blues” are fantastic purple hazed vamps to be sure, but a more detailed exploration relates more to Blue Cheer’s inspiration with which The Experience wielded their equipment so explosively huge. So they did it in an even HUGER way but they did it their own way and then went ALL the way with it -- by throwing caution to the four winds and bleaching out all the finessing Hendrix qualities by throwing their amps up to the highest contrast possible: to the crushing heights of the feedback intro to Hendrix’s encore at Monterey (“Wild Thing”) and subsequently leaving their amps at THAT level while rendering it all into a shit-and barn-storming thing to mess up your mind forevermore; or leave you with tinnitus trying or girlfriend crying for you to shut the fucking stereo off already.The album closer, “Second Time Around” is truly exceptional. It’s where everything gets thrown into the red/ultra-violet/violent end of the sound spectrum itself: Especially at one point near the end of the album where they finally bring their billowing, rippling sonic parachute down to earth in two clearings of pindrop quietude only for Stephens’ to rend the rare and precious silence with two shrieking guitar lines that run up outta nowhere in swift vengeance as though seeking to erase it forever. He displays all the confidence and recklessness of one who’d re-written the rulebook and then promptly gave it old heave-ho over the shoulder without another thought as his metal-on-metal/gear stripping-ness/fingernails on chalkboard/crosshatching playing hovers just beneath the tempo as it groans and shudders in zig-zags with proto-metal fatigue. The bleeding of the guitar lines into everything else creates a weird lag between the time they’re struck into life and the millisecond it comes coursing outta that heated line of Marshall amplifiers via his distortion stomp box. This in turn creates a further disjuncture with the tempo, tagging onto the delay by slipping in yet another split second of lag time that is subtle but creates a tension that is anything but because this differential interplay has been the surging dynamo powering each and every song on “Vincebus Eruptum” beyond its buckling limits: gathering behind into a momentum that pushes forward unstoppably into a Mφbius strip-tease that feeds on itself like a freakin’ electric ouroboros shitting itself through its eyeballs for the rest of eternity.Despite (or probably because of) this extreme use of volume, there’s something else at play behind that straining wall of amps, and it’s a weird sensation of nearly standing stock still. Of course, there are rhythms, beats and therefore, movement but the tempo is weirdly s-l-l-l-o-o-o-w-w-w: as though groaning under its own weight and that of a protective nitrogen blanket, the result of a messy struggle, against the driving heavy weather of amplitude blowing directly in their faces and rooted to the spot, as though caught in the searchlights of its own power.Blue Cheer were not just knockin’ on Heavy’s door and they weren’t invited, either: they broke on through it, tore off the hinges, tore up the threshold, took a huge chunk outta each side of the wall and then dropped a huge napalm log in the fireplace and split. Casually inventing a genre as they did so, no less.

Blue Cheer-Vincebus Eruptum @320
1.Summertime Blues
2.Rock Me Baby
3.Doctor Please
4.Out of Focus
5.Parchment Farm
6.Second Time Around

here :

3)Fleetwood Mac-Collection Gold

Short History Of The Group By Wiki:

Fleetwood Mac are a British/American rock band formed in 1967, that have experienced a high turnover of personnel and varied levels of success. From the band's inception through the end of 1974, no incarnation of Fleetwood Mac lasted as long as two years.

The only member present in the band from the very beginning is its namesake drummer Mick Fleetwood. Bassist John McVie, despite his giving part of his name to the band, did not play on their first single nor at their first concerts. Keyboardist Christine McVie has, to date, appeared on all but two albums, either as a member or as a session musician. She also supplied the artwork for the album Kiln House.

The two most successful periods for the band were during the late 1960s British blues boom, when they were led by guitarist Peter Green; and from 1975-87, with more pop-orientation, featuring Christine McVie, Lindsey Buckingham and Stevie Nicks. The band enjoyed more modest success in the intervening period between 1971 and 1974, with the line-up that included Bob Welch, and also during the 1990s which saw more personnel changes before the return of Nicks and Buckingham in 1997, and more recently, the departure of Christine McVie.

Fleetwood Mac-Collection Gold @320

1. Jigsaw Puzzle Blues

2. I Believe My Time Ain't Long
3. Need Your Love So Bad
4. Rattlesnake Snake Shake
5. Sun Is Shining
6. Coming Home
7. Albatross
8. Black Magic Woman
9. Just the Blues - Eddie Boyd, Fleetwood Mac
10. Big Boat - Eddie Boyd, Fleetwood Mac
11. No Place to Go
12. I've Lost My Baby
13. Stop Messin' Round
14. Shake Your Money Maker

15. Love That Burns
16. Rambling Pony


4)Beatles-Rubber Soul

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Info By Wiki:

Rubber Soul is the sixth studio album by The Beatles. Released in December 1965, and produced by George Martin, Rubber Soul was recorded in just over four weeks to make the Christmas market. Showcasing a sound influenced by the folk rock of The Byrds and Bob Dylan, the album was seen as a major artistic achievement for the band, attaining widespread critical and commercial success, with reviewers taking note of The Beatles' developing musical vision. In 2003, the album was ranked number 5 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Beatles-Rubber Soul @320

1 Drive My Car
2 Norwegian Wood
3 You Won't See Me
4 Nowhere Man
5 Think for Yourself
6 The Word
7 Michelle
8 What Goes On
9 Girl
10 I'm Looking Through You
11 In My Life
12 Wait
13 If I Needed Someone
14 Run for Your Life

5) May Blitz-The Second Of May @320

This the second album from May Blitz

1. For Mad Men Only
2. Snakes and Ladders
3. 25th of December 1969
4. In Part
5. 8 Mad Grim Nits
6. High Beech
7. Honey Coloured Time
8. Just Thinking


Saturday, November 22, 2008

Paul McCartney & Wings-Band On The Run

Info By Wiki:
Band on the Run is an album by Wings, released in 1973.McCartney's fifth album since the breakup of The Beatles (and Wings' third), it became Wings' most successful album and remains the most celebrated of McCartney's post-Beatles albums.It was 1974's top-selling album, and revitalized McCartney's critical standing.
In 2000 Q magazine placed Band on the Run at number 75 in its list of the 100 Greatest British Albums Ever. In 2003, the album was ranked number 418 on Rolling Stone magazine's list of the 500 greatest albums of all time. A contemporary review by Jon Landau in Rolling Stone (issue #153) described the album as "the finest record yet released by any of the four musicians who were once called The Beatles".
After the success of Red Rose Speedway and "Live And Let Die" - the new James Bond theme song - Wings began contemplating its next album. Paul and Linda McCartney, bored with recording in the UK, wanted to go to an exotic locale. After asking EMI to send him a listing of all its international recording studios, Paul happened upon Lagos in Nigeria and was instantly taken with the idea of recording in Africa. Alongside the McCartneys, guitarist and pianist Denny Laine, lead guitarist Henry McCullough and drummer Denny Seiwell also were set to go. However, a few weeks before departing in late August, McCullough quit Wings in Scotland; Seiwell followed suit the night before the departure. This left just the core of the band -- Paul, Linda and Denny Laine -- to venture to Lagos, along with former Beatles engineer Geoff Emerick, who was needed to record the basic tracks due to the primitive state of the Lagos studios, which Wings had failed to realize prior to planning the trip.

While there, both the McCartneys were mugged at knifepoint, were accosted in the studio by legendary musician Fela Kuti for fear that Paul was plagiarizing African music (fears which McCartney quickly assuaged by playing Kuti the recorded music), and were persuaded to record at Ginger Baker's studio in Lagos (where he lived at the time) by Baker himself once he heard that the McCartneys were in town. During this time, only the recording of the ensuing album's backing tracks, which generally featured Paul on lead guitar, keyboards, synthesizers, bass and drums and Denny on rhythm guitar, keyboards and bass, took place, as Emerick came to realize that EMI Lagos lacked such basic features as high-end vocal microphones.

In October, after the band's return to London, final overdubs and orchestral tracks were added and the album was finished. "Helen Wheels" was released as a non-album single at the end of the month, becoming a worldwide Top 10 by the end of the year. As Band On The Run was being prepared for release, Capitol Records, which distributed the Apple Records label in the United States, slotted "Helen Wheels" into the album - although it was never McCartney's intention to do so. The 1993 international CD reissue of the album - without the single interrupting the album's line-up - confirms this. Although "Helen Wheels" was not included on British versions of the Band on the Run CD (except as a bonus cut on the 1993 "The Paul McCartney Collection" edition of the CD), it has always been included on American editions of the CD (starting with the Columbia Records release of 1984).

Band on the Run was issued that December to glowing reviews. The commercial reaction was slow, with the album gradually inching its way up the charts, but by the spring of 1974, bolstered by the hits "Jet" and the title track "Band on the Run", Band On The Run was a large success. It reached #1 in the US on three separate occasions, a first, and eventually went triple platinum. In the UK, it spent seven weeks at the summit that summer, becoming the top selling British album of 1974. Its lingering success was also beneficial in allowing Wings the time to locate a new guitarist and drummer, and to integrate them into the band before beginning new recordings.

In early 1975, Band on the Run won the Grammy award for "Best Pop Vocal Performance By a Duo, Group or Chorus."

The lead track, "Band on the Run" generally set the pace for the rest of the album. To tie back in with the album's title, the final track, "Nineteen Hundred and Eighty-Five" (also known as "1985"), fades into the "Band on the Run" chorus, to close off the album

Paul McCartney & Wings-Band On The Run @320

1 Band On The Run
2 Jet
3 Bluebird
4 Mrs. Vandebilt
5 Let Me Roll It
6 Mamunia
7 No Words
8 Helen Wheels
9 Picasso s Last Words
10 Nineteen Hundred And Eighty Five

here pt1:


Wednesday, November 19, 2008

Paul McCartney-McCartney

Info By Wiki:
McCartney is the first solo album by Paul McCartney and was released in 1970. It is notable for the fact that McCartney, a multi-instrumentalist, performed the entire album (all instruments and voices) by himself, except for some backing vocals from his first wife, Linda McCartney. McCartney stated that he played "bass, drums, acoustic guitar, lead guitar, piano, Mellotron, organ, toy xylophone, and bow and arrow" on the album
Recorded privately at his home in London; at Morgan Studios, London; and at Abbey Road Studios, London under the pseudonym "Billy Martin" from late 1969 to March of 1970; the development of McCartney was undertaken as the Beatles were falling apart.

McCartney had been the most keen to keep the band together after the death of manager Brian Epstein in 1967, but with John Lennon's de facto departure after the Abbey Road sessions, greater interest in performing and being with Yoko Ono, George Harrison's emergence as a fine songwriter and Ringo Starr's growing interest in movies and a solo album in the works, it was clear to the general public and members alike that the Beatles had effectively dissolved.

Accepting that the band was now a sunken ship, McCartney decamped with wife Linda McCartney and their new family, including Linda's daughter from her first marriage, Heather, and their newborn, Mary, to their home in London in the autumn of 1969 so he could plot his next move.

As ever, McCartney had brought his instruments with him, as well as a portable Studer four-track tape recorder, and recorded the ad-libbed "The Lovely Linda" to test the equipment before the year was out. Enjoying the experience, he continued on, composing and improvising new material as he went along and overdubbing himself in the process. By late March 1970, as Phil Spector was concurrently mixing the Let It Be album, the simply-titled McCartney was completed.

Scheduled for release on 17 April 1970 the other Beatles realised that McCartney could conflict with the impending Let It Be album and film. The amicable Ringo Starr, whose own first album was almost ready for release, was sent to request that McCartney delay his solo debut. McCartney later commented, "They eventually sent Ringo round to my house at Cavendish with a message: 'We want you to put your release date back, it's for the good of the group', and all of this sort of shit. He was giving me the party line; they just made him come round, so I did something I'd never done before or since: I told him to get out. I had to do something like that in order to assert myself because I was just sinking. I was getting pummelled about the head, in my mind anyway."

The McCartney album was thus released on 17 April as planned, but not before a major announcement.

On 10 April, after intense disputes with Phil Spector over the final results of the long-delayed Let It Be album, McCartney finally snapped and publicly announced his departure from the Beatles, therefore completing the dissolution of the group. The world was stunned and – whether deliberate or not – the media circus surrounding the band's dissolution proved to be beneficial to market McCartney, which was released a week later. Advance copies sent to the press included a Q & A package containing questions McCartney could – and probably would – have been asked about the Beatles' break-up and their future; he gave a strong impression of his views, but stated that he did not know whether the group's break-up would be temporary or permanent. (The complete questionnaire, as well as McCartney's own song-by-song commentary, was included in Richard DiLello's book, The Longest Cocktail Party, as an appendix.)

As for McCartney, the album quickly shot to #1 in the US for three weeks, eventually going double platinum. In the UK, it was only denied the top spot by the highest-selling album of 1970 (and one of the all-time top-selling albums) Simon and Garfunkel's Bridge Over Troubled Water, which stayed at #1 for 41 (non-consecutive) weeks. There McCartney debuted straight at #2, where it remained for 3 weeks.

Although McCartney contains several pieces that are considered to be less than profound, it also includes "Every Night" and, more importantly, "Maybe I'm Amazed", one of McCartney's many love songs for his first wife, and one of his most enduring songs. McCartney has subsequently revealed that Linda was instrumental in bolstering his spirits and confidence during the album's making, and helping him out of his depression over losing the Beatles.

Shortly after the album's release, George Harrison described "Maybe I'm Amazed" and "That Would Be Something" as "great", and regarded the other tracks as "fair". John Lennon was less than impressed with McCartney, stating in his 1970 interview with Rolling Stone editor Jann Wenner that, given McCartney's penchant for demanding perfectionism in the studio from his fellow Beatles, he was surprised at the lack of quality in the album. Lennon also made several remarks comparing McCartney negatively to his own solo album debut, John Lennon/Plastic Ono Band.

With a raw honesty that had never typified a McCartney-related recording before, McCartney indeed has an unpolished sound; but its minimalist, intimate feel was – and remains – a refreshing change from much of McCartney's more ambitious recorded works. Although some of its initial critics considered it slight (especially compared with the scope of the recent Abbey Road), the album's reputation has increased with time, and McCartney is a firm favourite with many McCartney devotees

Paul McCartney-McCartney @320

1 The Lovely Linda
2 That Would Be Something
3 Valentine Day
4 Every Night
5 Hot as Sun/Glasses
6 Junk
7 Man We Was Lonely
8 Oo You
9 Momma Miss America

10Teddy Boy
11Singalong Junk
12Maybe I'm Amazed


Thursday, November 13, 2008

Beck, Bogert & Appice-Beck, Bogert & Appice

Info By Wiki:

Beck, Bogert & Appice was a hard rock power trio composed of guitarist Jeff Beck (The Yardbirds, Jeff Beck Group), bassist Tim Bogert and drummer Carmine Appice, both of Vanilla Fudge and Cactus. The three attempted a collaboration project in 1970 but Beck suffered a head injury in a car accident that year which sidelined him for well over a year. Bogert and Appice, who previously were members of Vanilla Fudge, instead formed the group Cactus with guitarist Jim McCarty and singer Rusty Day. After several Cactus releases, the band split and Bogert and Appice were again searching for a new band. Beck, after recovering from the head injury, formed a new Jeff Beck Group and released two more LPs before disbanding in 1972.

With all three members out of work they decided to revive the old idea of a collaboration and started work on their eponymous debut album Beck, Bogert & Appice. The album had solid sales in 1973 and had a hit single "Superstition", which was a cover of Stevie Wonder's composition of the same name. Wonder had originally intended to record "Superstition" with Beck, but the latter's automobile accident shelved the plan. Later that year the band released a concert album in Japan, Live in Japan, which was rereleased in 2005. The group began work on a second studio album, but Beck suddenly left the band in early 1974

Beck, Bogert & Appice is the eponymous debut album by the 70s rock and roll band Beck, Bogert & Appice.The album had solid sales in 1973 and produced a minor hit single with a cover of Stevie Wonder's "Superstition." This would be the last and only studio album by the band and soon after in 1974 during the recording of their second album, Beck would abruptly leave the band, forcing a sudden dissolution.

Beck, Bogert & Appice-Beck, Bogert & Appice @320

1 Black Cat Moan
2 Lady
3 Oh to Love You
4 Superstition
5 Sweet Sweet Surrender
6 Why Should I Care
7 Lose Myself with You
8 Livin' Alone
9 I"m So Proud


Tuesday, November 4, 2008

Creedence Clearwater Revival-Best Of

Info By Wiki:
Creedence Clearwater Revival was an American rock and roll band who gained popularity in the late 1960s and early 1970s with a string of successful songs from multiple albums released in 1968, 1969 and 1970.
The group consisted of singer, lead guitarist, and primary writer John Fogerty, rhythm guitarist and brother of John, Tom Fogerty, bass player Stu Cook, and drummer Doug Clifford. Their musical style encompassed rock and roll and swamp rock genres

Creedence Clearwater Revival-Best Of @320

1 Susie Q
2 I Put a Spell on You
3 Proud Mary
4 Bad Moon Rising
5 Lodi
6 Green River
7 Commotion
8 Down on the Corner
9 Fortunate Son
10 Travelin Band
11 Who'll Stop the Rain
12 Up Around the Bend
13 Run Through the Jungle
14 Lookin Out My Back Door
15 Long as I Can See the Light
16 I Heard It Through the Grapevine
17 Have You Ever Seen the Rain
18 Hey Tonight
19 Sweet Hitch-Hiker
20 Someday Never Comes



Sunday, November 2, 2008

Jefferson Airplane-Bless Its Pointed Little Head

Info By Wiki:

Bless Its Pointed Little Head is a live album by Jefferson Airplane recorded at both the Fillmore East and West in the fall of 1968 and released in 1969. Five songs on the album had not appeared on any of the band's previous studio recordings. The songs that did appear on previous albums, however, are now completely transformed into much heavier versions. Highlights of the album include Jack Casady's walking line bass playing which dominates the entire set and the blues number "Rock Me Baby" which is a harbinger of Casady's and Kaukonen's later band "Hot Tuna".

Of particular interest is the musician lineup on the Donovan cover "Fat Angel", which demonstrates the versatility of the band. Marty Balin plays bass, Casady is the rhythm guitarist while Kaukonen and Kantner share the lead guitar duties. The album closes with the eleven minute improvised jam "Bear Melt", notable for the exceptional rhythm understanding between drummer Spencer Dryden and bassist Casady.

The Fred Neil composition "The Other Side of this Life" was a particular favorite of the band, having been a staple of their live concerts from the band's earliest days

Jefferson Airplane-Bless Its Pointed Little Head @320

1 Clergy
2 3/5 of a Mile in 10 Seconds
3 Somebody to Love
4 Fat Angel
5 Rock Me Baby
6 The Other Side of This Life
7 It's No Secret
8 Plastic Fantastic Lover
9 Turn Out the Lights
10 Bear Melt
11 Today
12 Watch Her Ride
13Won't You Try

Tracks 2-3, 5-8 recorded October 24-26, 1968 at the Fillmore West, tracks 1, 4, 9 - 10 recorded November 28-30, 1968 at the Fillmore East, tracks 11-13 recorded November 5, 1968 at the Fillmore West



Friday, October 24, 2008

The Moody Blues-The Very Best

Short History Of The Group By Wiki:
The Moody Blues are an English psychedelic rock band originally from Erdington in the city of Birmingham. Founding members Michael Pinder and Ray Thomas performed an initially rhythm and blues-based sound in Birmingham in 1964 along with Graeme Edge and others, and were later joined by John Lodge and Justin Hayward as they inspired and evolved the progressive rock style. Among their innovations was a fusion with classical music, most notably in their seminal 1967 album Days of Future Passed.

The band has had numerous hit albums in the UK, U.S., and worldwide. They remain active as of 2008, with a USA Spring Tour and a U.K. Autumn Tour announced

The Moody Blues-The Very Best @320
1 Tuesday Afternoon
2 Nights In White Satin
3 Ride My See-Saw
4 Voices In The Sky
5 Question
6 The Story In Your Eyes
7 Isn't Life Strange
8 I'm Just A Singer (In A Rock And Roll Band)
9 Blue Guitar
10Steppin' In A Slide Zone
11The Voice
12Gemini Dream
13Blue World
14Your Wildest Dreams
15I Know You're Out There Somewhere


Thursday, October 23, 2008

Popol Vuh(Germany)-In den Gärten Pharaos

Info By Wiki:
Popol Vuh was a German(There was a Norwegian band with the same name) Krautrock band founded by pianist and keyboardist Florian Fricke in 1970 together with Holger Trulzsch (percussion) and Frank Fiedler (electronics). Other important members during the next two decades included Daniel Fichelscher and Robert Eliscu. The band took its name from the Popol Vuh, a manuscript containing the mythology of the Post-Classic Quiché Maya kingdom of highland Guatemala.
In den Gärten Pharaos is the second album by Popol Vuh

Popol Vuh-In den Gärten Pharaos @320

1 In den Gärten Pharaos
2 Vuh
3Kha - White Structures 1 bonus
4Kha - White Structures 2 bonus


No password.Album was downloaded with torrent


Alamo was a group from Memphis.They released their only(selftitled) album in 1971.The group disbans and Larry Raspberry forms Larry Raspberry and The Highsteppers. Richard Rosebrough joined Lee Baker & The Agitato

Larry Raspberry - guitar (ex The Gentrys)
Richard Rosebrough - drums
Larry Davis ) - bass
Ken Woodley - keyboards and vocals

photo taken from

Alamo-Alamo @320

1 Got to Find Another Way
2 Soft and Gentle
3 The World We Seek
4 Question Raised
5 Bensome Changes
6 All New People
7 Get the Feelin'
8 Happiness Is Free


Tuesday, October 21, 2008

Yardbirds-Happenings (Repost)

I reuploaded the album because the original link is down.
Also the quality of the covers scans is much better(20MB)
This album features 11 live tracks, recorded in Europe in 1965 and 1967.

Yardbirds-Happenings @320

1 Shapes Of Things
2 Heart Full Of Soul
3 Mr You're A Better Man Than I
4 Most Likely You'll Go Your Way
5 Over Under Sideways Down
6 Litle Games
7 My Baby
8 I'm a Man
9 I Wish You Would
10 Shapes Of Things
11 Happenings Ten Years Time Ago

1-8 Live in Stockholm on April 14th. 1967

9 Live in Paris on June 20th. 1965

10-11 Live in Germany, March 1967
You can find tracks 10-11 on youtube

Here: pt1:

Added Files In Rar Format: pt1:

Monday, October 20, 2008

Tony Sheridan And The Beatles-Hamburg 1961

While performing in Hamburg between 1960 and 1963, Sheridan employed various backup bands. In 1961 one such band, who had met Sheridan during their first visit to Hamburg in 1960, and who worked with him on their second, was The Beatles. At the time The Beatles were composed of John Lennon, Paul McCartney, George Harrison, and Pete Best. When German Polydor agent Bert Kaempfert saw the pairing on stage, he suggested that they make some recordings together. In 1962, after a series of singles (the first of which, "My Bonnie"/"The Saints" made it to #5 in the Hit Parade), Polydor released the album My Bonnie across Germany. Although The Beatles had enjoyed the joke in their stage performances, "Beatles" was judged to sound too similar to the German "Pidels" (pronounce peedles), the plural of a slang term for the penis, to be released under that name, and the album was credited to "Tony Sheridan and The Beat Brothers". After The Beatles had gained fame, the album was re-released in Britain, with the credit altered to "Tony Sheridan and The Beatles".

Tony Sheridan And The Beatles-Hamburg 1961 @320

01. Why (Can't You Love Me Again)
02. Cry For A Shadow
03. Let's Dance
04. Ya, Ya
05. What'd I Say
06. Ruby Baby
07. Take Out Some Insurance
08. Sweet Georgia Brown


Saturday, October 18, 2008


Info By Wiki:

Early years (1963-1973)
The band was formed in 1963, in Bucharest. It was singer and guitarist Octav Zemlicka who had the idea to start the band. ("Sfinx" is the Romanian for sphinx.) The initial line up included bassist Corneliu Ionescu, nicknamed "Bibi", who would be the only member to stay with the band until they disbanded. In 1966, Sfinx were aired for the first time on radio, with Îmi place muzica ("I love music") and their eponymous song, Sfinx. 1968 brought drummer Marian Toroimac into the band, and together with him, the young and shy Dan Andrei Aldea (both had been members of a band called Memphis). The latter left the band in 1969 for several months and returned, and he would assume control of the band and make it one of the finest rock acts in Romania.

The band played as a trio (Aldea, Ionescu, Toroimac) for several years. They used to play covers of songs by The Beatles, Jimi Hendrix, Ten Years After, The Doors, The Kinks etc. As of 1972, they recorded their first single disc, Şir de cocori/Languir me fais (First title translated: "Flock of Cranes". The latter was an arrangement of a lied by George Enescu).

Classic Sfinx (1973-1980)
1973 found Sfinx without a drummer, after Toroimac left. Aldea and "Bibi" Ionescu, together with flautist Doru Donciu, set out on a number of musical experiments, of which very few were recorded, including the famous Om bun ("Kind Man"). Towards the end of 1973, two drummers were proposed to join the band, of which the former was replaced by the skillful Mihai (Mişu) Cernea (the ex-drummer of pop band Mondial, who was also a gifted composer, with whom some of the best records of Romanian rock were taped around 1970). Hornist Petre Iordache, a former member of the band, briefly joined when the band's first EP was recorded in 1974, Coborîse primăvara/Ziua ta/Fiii soarelui/Peste vîrfuri ("Spring descended/Birthday/Sons of sun/Over crests").

In 1974 guitarist and composer Dan Bădulescu joins Sfinx, and from that point on (until the eighties), the band had only a few changes of personnel. Their first LP, Lume albă ("White world") was released in 1975 and enjoyed a great success with the audience and critics. At this point, the rival band Phoenix had released their own successful LP, Cantofabule, which however was not their first. Now that Sfinx had their own LP, the tension between the two bands' fans grew higher, so the Sfinx LP cover art humourously features some of the very passionate articles found in newspapers of the time.

When Bădulescu joined, the band started collaborating with the Romanian Agency for Artistic Promotion, so the first coordinates were established, regarding future concert tours throughout the country and abroad. For instance, the band would be allowed to concert periodically in Belgium for a number of years.

Only a few months after Lume albă, another project was mostly finalized: the ambitious concept album Zalmoxe, featuring lyrics by Romanian poet Alexandru Basarab. Bădulescu had left the band and Aldea invited instead a highschool friend[1], talented keyboard player Nicolae (Nicu) Enache. The album's release was however delayed for three years for political censorship reasons, so it came out only in 1978 on a single LP instead of a double album, as the band initially had planned. Meanwhile, Jon Anderson's backing band released Olias of Sunhillow in 1976 and when Aldea listened to it, he thought of trying to make a "timid" response out of their own album.[2] After the release of the album, a major concert tour was held throughout the country, where the band enjoyed huge success with the audience.

The Eighties (1980-1989)
In 1980, the band found themselves without Enache, so Idu Barbu, the first keyboard player with the band (also, one of the founding members) was invited and joined in for recording a new single disc, Focuri vii/'49-'50 ("Live Flames/'49-'50"). The disc was still a great success with the audience, yet had only moderate success with the critics.

An EP was released the same year - Din nou acasă/Zmeul/Fetele albine ("Home again/The Kite/Little bee girls"). Partly resembling the Lume albă style, although more mature, it was thought of as a much better record than the single previously released the same year. When the Zalmoxe album was re-released on CD in 1993, it also included the EPs three songs as bonus tracks. Idu Barbu played the keyboards only on Fetele albine, a piece in 7/8 timing, combining ethnic influences with synthesizer effects. The other two songs feature Aldea himself on keyboards.[1]

The band got again a contract to play in a nightclub in Belgium in 1981 and Dan Andrei Aldea decided to defect, and consequently requested political asylum. He never returned to Romania, even after the revolution in 1989, claiming disappointment with some of the political events in the early 90s. He built his own recording studio in Munich, Germany and started working there as a producer, arranger and session musician.

Meanwhile, in 1982, a new singer and guitarist was brought into the band, Sorin Chifiriuc, who had just quit his own musical act, called Domino. Together with three keyboard players (of which, Sandu Grosu had been with them since 1974 as the band's sound engineer), Sfinx released their last album, which was untitled (except for the band's name, which was featured on the cover). This led some to take it as an eponymous album, while others called it for its blue cover, Albumul albastru ("The Blue Album", 1984). The style was very different from the previous records and ventured into some new wave. As keyboardist Doru Apreotesei admitted in a recent interview, the producer forced the band to release the album right after the compositions were done, so they didn't have much time for rehearsals. The band later discovered that live renditions sounded much better than the studio version, as the members had not been accustomed to the songs well enough half a year before.[3]

Into Sfinx Experience (1990 on)
The band's activity declined in the late 1980s, when new members (which now changed very often) started playing commercial-oriented music, as a consequence of the invitations the band received from discothèques abroad. Sfinx split into two different acts after 1989: "Bibi" Ionescu kept the original act's name, while Mişu Cernea formed Sfinx Experience. While Sfinx never performed again, the latter is still working today with a new line up (of which, Crina Mardare and Zoia Alecu previously played and sang in the 1985 Sfinx), except for the drummer, Mişu Cernea.

Sfinx-Zalmoxe @320
1. Ursitoarele
2. Blana de urs
3. Mierea
4. Pestera
5. Epifania
6. Furtuna cu trup de balour
7. Calatorul prin nori
8. Kogaion
9. Epilog
10.Din nou acasa Bonus
11.Scufita Rosie Bonus
12.Fetele albine Bonus
13.Zmeul Bonus



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Group Info Was Found In

Comprised of 2 Germans and 2 Brits, Epitaph's sound is similar to the traditional British progressive heavy rock genre along the lines of Uriah Heep, Deep Purple, Led Zepplin. However, one can not overlook the effect which King Crimson had on Epitaph. Non-Crimson fans should note that the Crimzoids had a track titled 'Epitaph' on their 1969 debut LP; oddly enough, there is a track on Epitaph's debut which could easily be mistaken for this track! Coincidence?
'Epitaph 1971' features five guitar driven rock tracks, which are quite derivative at times of more popular British bands. The album opens with 'Moving To The Country' is a straight forward rock number reminiscent of early Uriah Heep. Following this is 'Visions', a slow atmospheric ballad heavily influenced by King Crimson's 1969 track 'Epitaph', the track contains lush mellotron and the chord sequence and lyrics similar to Pink Floyd's 'Echoes'. Though derivative of both of these two great bands, 'Visions' sticks out as the best track on this album. 'Hopelessly' is another progressive heavy rock tour de force. This track builds slowly and contains an extended instrumental section. 'Little Maggie' contains a nice chorus hook and a playfully jangly blues/folk guitar similar to Jimmy Pages' work. Perhaps the most original composition from the LP, 'Early Morning', contains a fairly complex arrangement and an ominous sound. The album manages to stand on its own and should appeal greatly to fans of progressive heavy rock

Epitaph-Epitaph @320

1. Moving To The Country
2. Visions
3. Hopelessly
4. Little Maggie
5. Early Morning
6. London Town Girls (Bonus)
7. Autumn 71 (Bonus)
8. Are You Ready (Bonus)
9. I'm Trying (Bonus)
10. Changing World (Bonus)


Friday, October 17, 2008


Info By Progarchives:

Bodkin were a Scottish quintet that released a self-titled album in 1972. They made a classic-sounding, rough-edged heavy progressive rock with the emphasis on Doug Rome's Hammond organ and complimented by Mick Riddle's guitar, Bill Anderson's bass, Dick Sneddon on drums and the cool wailing of Zeik Hume.

Somewhat more jam-oriented than contemporaries such as ATOMIC ROOSTER or URIAH HEEP and not quite as hard-hitting, BODKIN nevertheless delivered spirited rock music with energetic interplay between guitar and organ, fine musicianship, and distractingly good compositions from the 21 year-old Doug Rome.

A very palatable blend of dark organ-rock and dirty blues, Bodkin will surely please listeners interested in the murky and mysterious early years of the Heavy Prog scene and anyone seeking rare prog.

Bodkin-Bodkin @320

01. Three Days After Death pt. 1
02. Three Days After Death pt. 2
03. Aunty Mary's Trashcan
04. Aftur Yur Lumber
05. Plastic Man



Monday, October 13, 2008

Fleetwood Mac-Collection Gold

Short History Of The Group By Wiki:

Fleetwood Mac are a British/American rock band formed in 1967, that have experienced a high turnover of personnel and varied levels of success. From the band's inception through the end of 1974, no incarnation of Fleetwood Mac lasted as long as two years.

The only member present in the band from the very beginning is its namesake drummer Mick Fleetwood. Bassist John McVie, despite his giving part of his name to the band, did not play on their first single nor at their first concerts. Keyboardist Christine McVie has, to date, appeared on all but two albums, either as a member or as a session musician. She also supplied the artwork for the album Kiln House.

The two most successful periods for the band were during the late 1960s British blues boom, when they were led by guitarist Peter Green; and from 1975-87, with more pop-orientation, featuring Christine McVie, Lindsey Buckingham and Stevie Nicks. The band enjoyed more modest success in the intervening period between 1971 and 1974, with the line-up that included Bob Welch, and also during the 1990s which saw more personnel changes before the return of Nicks and Buckingham in 1997, and more recently, the departure of Christine McVie.

Fleetwood Mac-Collection Gold @320

1. Jigsaw Puzzle Blues

2. I Believe My Time Ain't Long
3. Need Your Love So Bad
4. Rattlesnake Snake Shake
5. Sun Is Shining
6. Coming Home
7. Albatross
8. Black Magic Woman
9. Just the Blues - Eddie Boyd, Fleetwood Mac
10. Big Boat - Eddie Boyd, Fleetwood Mac
11. No Place to Go
12. I've Lost My Baby
13. Stop Messin' Round
14. Shake Your Money Maker

15. Love That Burns
16. Rambling Pony