Echoes Of The Past

The Big 4 - Live From Sofia, Bulgaria

2010-11-07T01:45:00.013+02:00

The show features performances by Metallica, Slayer, Megadeth, and Anthrax, which are collectively See Comments known as "The Big 4" of thrash metal.It was recorded at the June 22, 2010 Sonisphere Festival in Sofia, Bulgaria

Anthrax
CD 1

1.Caught in a Mosh
2.Got the Time
3.Madhouse
4.Be All, End All
5.Antisocial
6.Indians/Heaven & Hell
7.Medusa
8.Only
9.Metal Thrashing Mad
10.I Am the Law

Megadeth
CD 2

1.Holy Wars... The Punishment Due
2.Hangar 18
3.Wake Up Dead
4.Head Crusher
5.In My Darkest Hour
6.Skin o' My Teeth
7.À Tout le Monde
8.Hook in Mouth
9.Trust
10.Sweating Bullets
11.Symphony of Destruction
12.Peace Sells/Holy Wars Reprise

Slayer
CD 3

1.World Painted Blood
2.Jihad
3.War Ensemble
4.Hate Worldwide
5.Seasons in the Abyss
6.Angel of Death
7.Beauty Through Order
8.Disciple
9.Mandatory Suicide
10.Chemical Warfare
11.South of Heaven
12.Raining Blood

Metallica
CD 4 & 5

1.Creeping Death
2.For Whom The Bell Tolls
3.Harvester of Sorrow
4.Fade to Black
5.That Was Just Your Life
6.Cyanide
7.Welcome Home (Sanitarium)
8.One
9.Master of Puppets
10.Blackened
11.Nothing Else Matters
12.Enter Sandman
13.Am I Evil? w/ Dave Lombardo, Megadeth, and Anthrax
14.Hit the Lights
15.Seek & Destroy

Anthrax

www.mirrorcreator.com/files/IQR9NLD5/TB4_-_AX.part1.rar_links

www.mirrorcreator.com/files/16AHXDY3/TB4_-_AX.part2.rar_links

Metallica 1

www.mirrorcreator.com/files/SE11MOPD/TB4_-_MA_1.part1.rar_links

www.mirrorcreator.com/files/GRSLTR9U/TB4_-_MA_1.part2.rar_links

Metallica 2

www.mirrorcreator.com/files/EL40KNC0/TB4_-_MA_2.part1.rar_links

www.mirrorcreator.com/files/0VJQRKWZ/TB4_-_MA_2.part2.rar_links

Slayer

www.mirrorcreator.com/files/10GRKGAN/TB4_-_SR.part1.rar_links

www.mirrorcreator.com/files/0VLZGFJ6/TB4_-_SR.part2.rar_links

Megadeath

www.mirrorcreator.com/files/0QPECHDL/TB4_-_MT.part1.rar_links

www.mirrorcreator.com/files/E3LAVFNX/TB4_-_MT.part2.rar_links

Booklet And Photos (160 MB)

http://www.mirrorcreator.com/files/1QUR3IVM/TB4_-_BI.part1.rar_links

http://www.mirrorcreator.com/files/15OM3XET/TB4_-_BI.part2.rar_links

Still Here

2010-11-07T01:14:00.002+02:00

Hi guys
Almost a year has passed since my last post.I 'm very busy with my work so it's difficult to make any new posts.
Also several people requested reuploading albums due to expired links.I ll try to reupload them.
I have enabled comment moderation because a lot of spam comments are pasted.

Thanks again for visiting the blog!

Merry Christmas To All

2009-12-25T13:11:00.003+02:00

Deep Purple-Concerto For Group And Orchestra (Film)

2009-12-25T13:09:00.011+02:00

Info By Wiki:

The Concerto for Group and Orchestra is a concerto composed by Jon Lord .It was first performed by Deep Purple and The Royal Philharmonic Orchestra conducted by Malcolm Arnold on 24 September 1969 and released on vinyl in December 1969. The release was the first Deep Purple album to feature Ian Gillan on vocals and Roger Glover on bass. After the score was lost in 1970, it was performed again in 1999 with a recreated score

The Concerto for Group and Orchestra displays some characteristics of the concerto grosso, sinfonia concertante, and concerto for orchestra genres:

First movement (Moderato - Allegro): after an elaborate orchestral introduction the Group and the Orchestra work as separate blocks, trying to get dominance over the main theme - this opposition of a group of soloists against an orchestra is quite "concerto grosso" style.
Second movement (Andante), with lyrics sung by Ian Gillan: here the group integrates more with the sound of the orchestra while still clearly on top of the orchestral texture, giving a sinfonia concertante look and feel.
Third movement (Vivace - Presto): apart from Ian Paice's drum solo, the music is so tightly knit that the distinction between the group and the orchestra is almost lifted: in a way the group becomes part of an extended orchestra, with one elaborate "solo" passage, by an instrument that is no soloist throughout the movement, giving a concerto touch: this is more or less what is understood by the Concerto for Orchestra genre

Here:

part1:
www.mirrorcreator.com/files/Z3KM8TGH/DP-CFGAO.part1.rar_links
part2:
www.mirrorcreator.com/files/UQPLANWR/DP-CFGAO.part2.rar_links
part3:
www.mirrorcreator.com/files/UCSRQ1UH/DP-CFGAO.part3.rar_links
part4:
www.mirrorcreator.com/files/N28CSLR1/DP-CFGAO.part4.rar_links
part5:
www.mirrorcreator.com/files/YK7Q7D6Y/DP-CFGAO.part5.rar_links
part6:
sharebee.com/e32a05fa
part7:
www.mirrorcreator.com/files/0T3VG8WQ/DP-CFGAO.part7.rar_links

Status Quo - Classic Status Quo (Best Of)

2009-08-05T22:42:00.003+03:00

Status Quo - Classic Status Quo (Best Of) @320
01. Whatever You Want
02. Rockin' All Over The World
03. Down Down
04. Rain
05. Long Legged Linda
06. I Love Rock And Roll
07. Dirty Water
08. Little Dreamer
09. Caroline
10. Backwater
11. Don't Waste My Time
12. Shady Lady
13. Ain't Complaining
14. The Wanderer
15. Roadhouse Blues

Here:
part1:
asapload.com/234330

part2:
sharebee.com/6ccdd897

Queen - Greatest Hits

2009-08-02T20:01:00.008+03:00

Greatest Hits is a compilation album by the British rock band Queen. The record, released on November 2, 1981, is Queen's best-selling album globally, and the UK's all-time best-selling album

Queen - Greatest Hits (1981 Version) @320
1.Bohemian Rhapsody (from A Night at the Opera, 1975) Freddie Mercury 5:55
2.Another One Bites the Dust (from The Game, 1980) John Deacon 3:36
3.Killer Queen (from Sheer Heart Attack, 1974) Mercury 2:57
4.Fat Bottomed Girls (single version, from Jazz, 1978) Brian May 3:16
5.Bicycle Race (from Jazz, 1978) Mercury 3:01
6.You're My Best Friend (from A Night at the Opera, 1975) Deacon 2:52
7.Don't Stop Me Now (from Jazz, 1978) Mercury 3:29
8.Save Me (from The Game, 1980) May 3:48
9.Crazy Little Thing Called Love (from The Game, 1980) Mercury 2:42
10.Somebody to Love (from A Day at the Races, 1976) Mercury 4:56
11.Now I'm Here (from Sheer Heart Attack, 1974) May 4:10
12.Good Old-Fashioned Lover Boy (from A Day at the Races, 1976) Mercury 2:54
13.Play the Game (from The Game, 1980) Mercury 3:33
14.Flash (single version, from Flash Gordon, 1980) May 2:48
15.Seven Seas of Rhye (from Queen II, 1974) Mercury 2:47
16.We Will Rock You (from News of the World, 1977) May 2:01
17.We Are the Champions (from News of the World, 1977) Mercury 2:59

Here:
Part1:
sharebee.com/21922f60
Part2:
www.mirrorcreator.com/files/WSCIATPR/Q-GH.part2.rar_links

Queen - Flash

Metallica - Metallica (The Black Album)

2009-07-25T14:37:00.007+03:00

Info By Wiki:
Metallica (also referred to as The Black Album) is the fifth album by the American heavy metal band Metallica, released August 12, 1991 through Elektra Records. The album features songs that are considered today as Metallica's most known tracks, with songs such as "Enter Sandman", "The Unforgiven", "Nothing Else Matters" , "Wherever I May Roam" and "Sad but True". It spent four consecutive weeks at number one on Billboard 200. Metallica is the band's best-selling album to date, with over 15 million copies sold in the United States and over 22 million copies worldwide.It is the second best-selling album of the SoundScan era.

The album cover features only the band's logo, angled against the upper left corner, and a coiled snake (derived from the Gadsden flag) on the bottom right corner, both in a dark shade of gray in order to be made out against the black background. The motto of the Gadsden flag, "Don't Tread on Me", is also the title of a song featured on the album.

The cover is very reminiscent of Spinal Tap's Smell the Glove album, something the band jokingly acknowledged themselves in their A Year and a Half in the Life of Metallica documentary (where members of Spinal Tap appeared and asked them about it).

Metallica - Metallica (The Black Album) @320
1.Enter Sandman
2.Sad but True
3.Holier Than Thou
4.The Unforgiven
5.Wherever I May Roam
6.Don't Tread on Me
7.Through the Never
8.Nothing Else Matters
9.Of Wolf and Man
10.The God That Failed
11.My Friend of Misery
12.The Struggle Within

Here:
part1:
sharebee.com/d6a83cb1

part2:

asapload.com/232661

Deep Purple - Knocking At Your Back Door (The Best Of Deep Purple in the 80's)

2009-07-23T21:46:00.009+03:00

Knocking at Your Back Door is a compilation album by Deep Purple.
It's compilation of tracks from three albums, Perfect Strangers (1984), The House of Blue Light (1987), and the live album Nobody's Perfect (1988).

Deep Purple - Knocking At Your Back Door (The Best Of Deep Purple In The 80's) @320
1. Knocking At Your Back Door
2. Bad Attitude
3. Son Of Alerik
4. Nobody's Home
5. Black Night
6. Perfect Strangers (Single Edit)
7. The Unwritten Law
8. Call Of The Wild
9. Hush (Hook End Manor Version)
10.Smoke On The Water (Live 1987 / Oslo, Norway)
11.Space Truckin' (Live 1987 / Oslo, Norway)

Line-up / Musicians
- Ritchie Blackmore / guitars
- Ian Paice / drums
- Roger Glover / bass
- Ian Gillan / vocals
- Jon Lord / keyboards

part1:
sharebee.com/bde00da5

part2:
sharebee.com/d105a888

Asia - The Very Best Of

2009-07-21T19:14:00.009+03:00

Asia is a rock group formed in 1981. The band was labelled a supergroup and included former members of veteran progressive rock bands Yes, King Crimson, Emerson, Lake & Palmer, Uriah Heep, U.K., Roxy Music, Wishbone Ash and The Buggles. As of 2008, there are two distinct groups using the Asia name: a reunion of the band's original line-up performing as Asia, and Asia Featuring John Payne featuring three members from later incarnations of Asia.

Asia - The Very Best Of @320
1. Heat Of The Moment
2. Only Time Will Tell
3. Sole Survivor
4. Time Again
5. Wildest Dreams
6. Here Comes The Feeling
7. Don't Cry
8. Daylight
9. The Smile Has Left Your Eyes
10.Lyin' To Yourself
11.The Heat Goes On
12.Never In A Million Years
13.Open Your Eyes
14.Go
15.Voice Of America
16.Too Late
17.Days Like These
18.Ride Easy

Here:
part1:
www.mirrorcreator.com/files/KAW7H1AI/A-TVBO.part1.rar_links

part2:
www.mirrorcreator.com/files/0LR7YNB3/A-TVBO.part2.rar_links

Asia - Heat Of The Moment

Motörhead - Another Perfect Day

2009-07-18T22:19:00.010+03:00

Info By Wiki:
Another Perfect Day is the sixth album by the British band Motörhead. The album was released in 1983 and reached number 20 in the UK charts.
After guitarist "Fast" Eddie Clarke left Motörhead on their second US tour, Brian "Robbo" Robertson (ex-Thin Lizzy, Wild Horses) was drafted to complete the tour. On their return to the UK the band recorded their unique and controversial album - Another Perfect Day.
Although it is the most melodic and unique album Motörhead had ever recorded, the fans were not pleased; Robertson and Phil "Philthy Animal" Taylor went to form the band Operator and Lemmy went on with Motörhead, forming the new line-up of Lemmy, Phil Campbell, Würzel, Pete Gill. None of the songs from the album were performed live from Robertson's departure in 1983 to 2004. From that year on, "Dancing on Your Grave", "I Got Mine" and "Another Perfect Day" have been featured regularly in the band's live set.

Motörhead - Another Perfect Day @320
1 Back at the Funny Farm
2 Shine
3 Dancing on Your Grave
4 Rock it
5 One Track Mind
6 Another Perfect Day
7 Marching off to War
8 I Got Mine
9 Tales of Glory
10 Die You Bastard

Here:

part1:
www.mirrorcreator.com/files/1KFKX76P/M-APD.part1.rar_links
part2:
www.mirrorcreator.com/files/BWIEB72A/M-APD.part2.rar_links

Jimi Hendrix-Are You Experienced

2009-07-16T20:55:00.007+03:00

Are You Experienced is the debut album by English/American rock band The Jimi Hendrix Experience.It Was released in 1967, it was the first LP for Track Records.

Jimi Hendrix-Are You Experienced @320
1. Foxy Lady
2. Manic Depression
3. Red House
4. Can You See Me
5. Love Or Confusion
6. I Don't Live Today
7. May This Be Love
8. Fire
9. 3rd Stone from the Sun
10.Remember
11.Are You Experienced
12.Hey Joe
13.Stone Free
14.Purple Haze
15.51st Anniversary
16.The Wind Cries Mary
17.Highway Chile

Here:
part1:
www.mirrorcreator.com/files/NLCQIFLR/JH-AYE.part1.rar_links

part2:
www.mirrorcreator.com/files/EVY2A4ZW/JH-AYE.part2.rar_links

Focus-The Sky Will Fall Over London Tonight(Re-Up)

2009-07-14T20:33:00.010+03:00

Focus-The Sky Will Fall Over London Tonight(Live BBC Studios Late 1972) @320

1. Bob Harris Introduction
2. Anonymous Two
3. Band Introductions
4. Focus 1
5. Focus 3
6. Answers? Questions! Questions? Answers!
7. Focus 2
8. Bob Harris Once More
9. Hocus Pocus

Source: TORRENT

Here:
part1:
www.mirrorcreator.com/files/1WLJQLMN/F-TSWFOLT.part1.rar_mirrors

part2:
www.mirrorcreator.com/files/09DGOMNM/F-TSWFOLT.part2.rar_mirrors

Cream-Disraeli Gears

2009-07-11T15:38:00.016+03:00

Disraeli Gears is the second album by British blues-rock group Cream. It was released in November 1967 and went on to reach #5 on the UK album chart. It was also their American breakthrough, becoming a massive seller there in 1968, reaching #4 on the American charts. The album features the two singles "Strange Brew" and "Sunshine of Your Love". By this time, the group was veering quite heavily away from their blues roots to indulge in more psychedelic sounds.

The title of the album was taken from an inside joke. Eric Clapton had been thinking of buying a racing bicycle and was discussing it with Ginger Baker, when a roadie named Mick Turner commented, "it's got them Disraeli Gears", meaning to say "derailleur gears", but instead alluding to 19th Century British Prime Minister, Benjamin Disraeli. The band thought this was hilarious, and decided that it should be the title of their next album. Had it not been for Mick, the album would simply have been entitled Cream.

Clapton, Baker, and Jack Bruce all contributed songs with the help of lyricist Pete Brown and producer Felix Pappalardi. The track "Blue Condition" was unusual in that Baker, although not well known for his singing, took the lead vocal. The album was recorded in New York by their American label, the Atco division of Atlantic Records during the band's stay in the United States.

The psychedelic cover art was created by Australian artist Martin Sharp, who lived in the same building as Clapton at the time of the Chelsea artists colony The Pheasantry. At their first meeting in a London club, Clapton mentioned that he had some music that needed lyrics, so Sharp wrote out a poem he had composed on a napkin and gave it to Clapton, who recorded it as "Tales of Brave Ulysses".

When interviewed on the episode of the VH1 show, Classic Albums, which featured Disraeli Gears, Bruce stated that when writing the song "Take it Back", he had been inspired by the contemporary media images of American students burning their draft cards and wrote the song in that spirit of rejecting militarism.

Cream-Disraeli Gears @320

1. Strange Brew
2. Sunshine Of Your Love
3. World Of Pain
4. Dance The Night Away
5. Blue Condition
6. Tales Of Brave Ulysses
7. Swlabr
8. We're Going Wrong
9. Outside Woman Blues
10. Take It Back
11. Mother's Lament

Here:
www.mirrorcreator.com/files/1ZUTBZSC/C-DG_1.rar_mirrors

Cream-Strange Brew

Cream-Sunshine Of Your Love

Jimi Hendrix - Sunshine of Your Love (Live Stockholm '69)

Cream - Tales Of Brave Ulysses

Byrds - The Notorious Byrd Brothers

2009-07-02T12:52:00.010+03:00

The Notorious Byrd Brothers is the fifth album by rock band The Byrds and was released in January, 1968

Byrds - The Notorious Byrd Brothers @320
1. Artificial Energy
2. Goin' Back
3. Natural Harmony
4. Draft Morning
5. Wasn't Born To Follow
6. Get To You
7. Change Is Now (Single Version)
8. Old John Robertson
9. Tribal Gathering
10. Dolphin's Smile
11. Space Odyssey
12. Moog Raga (instrumental)
13. Bound To Fall (instrumental)
14. Triad
15. Goin' Back
16. Draft Morning (alternate end)
17. Universal Mind Decoder (Alternate Backing Track)

Here:
part1:

www.mirrorcreator.com/files/0I6DIBJH/B-TNBB.part1.rar_mirrors

part2:
www.mirrorcreator.com/files/OEFPXXEX/B-TNBB.part2.rar_mirrors

13th Floor Elevators-The Sign Of The 3-Eyed Men (10CDs)

2009-06-28T22:40:00.027+03:00

This is the ultimate Elevators box set. With all tracks remastered and remixed by the band’s original engineer and producer Walt Andrus, the 10 CDs that make up Sign Of The 3 Eyed Men include both the original mono and alternative stereo mixes of the Elevators’ two most celebrated albums, Psychedelic Sounds and Easter Everywhere, plus a remastered version of their swansong Bull Of The Woods. Additionally, the box set also includes the first official release of Headstone: The Contact Sessions. Recorded hot on the heels of the Elevators’ legendary debut single, You’re Gonna Miss Me, in February 1966, Headstone was originally slated to be their debut album, predating Psychedelic Sounds by six months. Also seeing the light of day for the first time is a reconstruction of the “lost” third album, A Love That’s Sound (aka Beauty & The Beast). Needless to say, each of these titles come with an impressive array of outtakes, 45 versions, unreleased acetates, backing tracks, alternate mixes and demo and rehearsal recordings.

Completing the 10-CD set are three previously unreleased live collections, Live! In Texas, which features radio broadcasts, TV appearances and audience recordings from Austin, Dallas and Houston in 1966, Live! In California, Avalon Ballroom (from November 1966) and 13th Floor Elevators Live: Death In Texas, which includes the infamous 1967 Houston Music Theatre show and the 1973 reunion in Austin.

Despite their legendary status as trailblazers and the world’s first truly psychedelic band, the Elevators’ career has, until now, been defined by missed opportunities, record company ineptitude, Roky Erickson’s catastrophic mental breakdown and Stacey Sutherland’s desperate attempts to overcome his personal demons. The arrival of this eagerly-awaited box set finally the record straight on the Elevators’ legacy, sanctioned as it is by the surviving members of the band, with its title coming from the Elevators’ selfappointed mystic and electric jug-playing visionary Tommy Hall.

13th Floor Floor Elevators-The Sign Of The 3-Eyed Men @320

Disc 1: Headstone- The Contact Sessions

1. You're Gonna Miss Me (2:30)
2. Tried To Hide (2:22)
3. Everybody Needs Somebody To Love (3:43)
4. Take That Girl (2:59)
5. You Can't Hurt Me Anymore (3:42)
6. I'm Gonna Love You Too (1:57)
7. Monkey Island (2:26)
8. Roller Coaster (3:47)
9. Now I'm Home (Splash 1) (3:41)
10. Where Am I? (Through The Rhythm) (3:15)
11. Fire Engine (2:15)
12. You Can't Hurt Me Anymore (3:00)
13. Fire Engine (2:37)
14. You're Gonna Miss Me (2:42)
15. Tried To Hide (2:46)
16. I'm Gonna Love You Too (1:50)
17. All Night Long (Bad Seeds) (2:20)
18. You're Gonna Miss Me (2:34)

Disc 2: Live In Texas

1. Monkey Island (2:54)
2. Roller Coaster (4:51)
3. Gloria (8:26)
4. You're Gonna Miss Me (3:16)
5. Interview (0:57)
6. Fire Engine (2:44)
7. You Really Got Me (4:36)
8. Roll Over Beethoven (3:10)
9. Gloria (4:00)
10. Fire Engine (2:32)
11. You're Gonna Miss Me (3:01)
12. Roller Coaster (4:19)
13. Mercy Mercy (3:33)
14. Tried To Hide (2:40)
15. I'm Down (4:40)
16. Satisfaction (5:01)
17. I'm Gonna Love You Too (1:43)
18. I Feel Good (2:00)
19. Gloria (6:44)
20. Everybody Needs Somebody To Love (5:59)

Disc 3: The Psychedelic Sounds Of (Mono)

1. You're Gonna Miss Me (2:31)
2. Rollercoaster (5:04)
3. Splash 1 (3:53)
4. Reverberation (2:47)
5. Don't Fall Down (3:01)
6. Fire Engine (3:19)
7. Thru The Rhythm (3:07)
8. You Don't Know (How Young You Are) (2:56)
9. Kingdom Of Heaven (Is Within You) (3:00)
10. Monkey Island (2:40)
11. Tried To Hide (2:40)
12. Reverberation (2:47)
13. Fire Engine (2:37)
14. Reverberation (2:59)
15. Fire Engine (3:19)

Disc 4: The Psychedelic Sounds Of (Stereo)

1. You Don't Know (How Young You Are) (2:57)
2. Through The Rhythm (3:24)
3. Monkey Island (2:55)
4. Rollercoaster (5:04)
5. Fire Engine (2:37)
6. Reverberation (2:53)
7. False start / Tried To Hide (0:27)
8. Tried To Hide (2:40)
9. You're Gonna Miss Me (2:30)
10. I've Seen Your Face Before (Splash 1) (3:56)
11. Don't Fall Down (3:19)
12. The Kingdom Of Heaven (Is Within You) (3:10)
13. You Don't Know (How Young You Are) (2:44)
14. Roller Coaster (4:21)
15. Don't Fall Down(3:02)
16. Don't Fall Down (Larry Kane Show) (4:07)

Disc 5: Live In California

1. Everybody Needs Somebody To Love (5:46)
2. Before You Accuse Me (2:42)
3. You Don't Know (How Young You Are) (2:56)
4. Splash 1 (3:41)
5. I'm Gonna Love You Too (2:10)
6. You Really Got Me (6:37)
7. Fire Engine (3:12)
8. Roll Over Beethoven (2:54)
9. The Word (2:55)
10. Monkey Island (2:52)
11. Rollercoaster (5:42)

Disc 6: Easter Everywhere (Mono)

1. Slip Inside this House (7:55)
2. Slide Machine (3:39)
3. She Lives (In A Time Of Her Own) (2:56)
4. Nobody To Love (2:57)
5. Baby Blue (5:00)
6. Earthquake (4:43)
7. Dust (3:57)
8. Levitation (2:40)
9. I Had To Tell You (2:26)
10. Postures (Leave Your Body Behind) (6:21)
11. I've Got Levitation (2:36)
12. Before You Accuse Me (2:37)
13. She Lives (In A Time Of Her Own) (2:56)
14. Baby Blue (5:12)
15. Slip Inside This House (4:06)

Disc 7: Easter Everywhere (Stereo)

1. Slip Inside This House (8:05)
2. Slide Machine (3:41)
3. She Lives (In A Time Of Her Own) (2:57)
4. Nobody To Love (2:59)
5. (It's All Over Now) Baby Blue (5:17)
6. Earthquake (4:49)
7. Dust (3:50)
8. Levitation (2:43)
9. I Had To Tell You (2:29)
10. Postures (Leave Your Body Behind) (6:32)
11. Fire In My Bones (2:05)
12. Dust (3:50)
13. Right Track Now (3:02)
14. Splash 1 (3:05)
15. Before You Accuse Me (3:27)
16. Levitation (3:09)
17. Levitation (4:17)

Disc 8: A Love That's Sound
1. Wait For My Love (3:20)
2. It's You (2:44)
3. May The Circle Remain Unbroken (2:30)
4. Livin' On (5:33)
5. Never Another (3:54)
6. Dr Doom (3:24)
7. Sweet Surprise (3:40)
8. Moon Song (3:42)
9. Livin' On (3:20)
10. Never Another (3:36)
11. It's You (2:36)
12. Moon Song (3:06)

Disc 9: Bull Of The Woods
1. Livin' On (3:24)
2. Barnyard Blues (2:50)
3. Till Then (3:22)
4. Never Another (2:20)
5. Rose And The Thorn (3:35)
6. Down By The River (1:53)
7. Scarlet And Gold (4:59)
8. Street Song (4:55)
9. Dr Doom (3:11)
10. With You (2:14)
11. May The Circle Remain Unbroken (2:44)
12. Livin' On (3:25)
13. Scarlet And Gold (4:59)
14. May The Circle Remain Unbroken (2:41)
15. Livin' On (3:23)
16. Bull Of The Wood (1:02)

Disc 10: Death In Texas
1. (I've Got) Levitation (3:26)
2. Reverberation (3:27)
3. Don't Fall Down (3:33)
4. Kingdom Of Heaven (Is Within You) (3:46)
5. She Lives (In A Time Of Her Own) (3:27)
6. Rock'n'Roll jam #1 (7:40)
7. Instrumental jam #3 (4:50)
8. Baby Blue Jam (6:27)
9. She Lives (In A Time Of Her Own) (4:52)
10. Maxine (3:32)
11. (I've Got) Levitation (3:29)
12. Shake Your Hips (4:39)
13. Roky on KAUM Radio 1973 (0:10)
14. Stumble (Smoke The Toilet) (2:45)
15. You're Gonna Miss Me (4:20)

SOURCE: TORRENT(UPLOADED FIRST BY STEVEHALPIN IN FLAC FORMAT)

Here:

CD1
part1:
www.mirrorcreator.com/files/0FYH9NSF/13thFE-H.TCS.part1.rar_mirrors

part2:
www.mirrorcreator.com/files/0UU4WCGU/13thFE-H.TCS.part2.rar_mirrors

CD2
part1:
www.mirrorcreator.com/files/1IBF0IOE/13thFE-LIT.part1.rar_mirrors

part2:
www.mirrorcreator.com/files/1M6KRKG3/13thFE-LIT.part2.rar_mirrors

CD3
part1:
www.mirrorcreator.com/files/9FHNMQYK/13thFE-TSSOM.part1.rar_mirrors

part2:
www.mirrorcreator.com/files/1GJOEAAB/13thFE-TSSOM.part2.rar_mirrors

CD4
part1:
www.mirrorcreator.com/files/AUXJ9IIW/13thFE-TSSOS.part1.rar_mirrors

part2:
www.mirrorcreator.com/files/YUUWOXEC/13thFE-TSSOS.part2.rar_mirrors

CD5
part1:
www.mirrorcreator.com/files/0YD0XTIL/13thFE-LIC.part1.rar_mirrors

part2:
www.mirrorcreator.com/files/I4S9ROHU/13thFE-LIC.part2.rar_mirrors

CD6
part1:
www.mirrorcreator.com/files/1AFFPOMA/13thFE-EEM.part1.rar_mirrors

part2:
www.mirrorcreator.com/files/B8YSQBUC/13thFE-EEM.part2.rar_mirrors

CD7
part1:
www.mirrorcreator.com/files/013OCXLP/13thFE-EES.part1.rar_mirrors

part2:
www.mirrorcreator.com/files/0TDMKV7E/13thFE-EES.part2.rar_mirrors

CD8
part1:
www.mirrorcreator.com/files/09DL4GM3/13thFE-ALTS.part1.rar_mirrors

part2:
www.mirrorcreator.com/files/W0C79GKN/13thFE-ALTS.part2.rar_mirrors

CD9
part1:
www.mirrorcreator.com/files/1SC6FX54/13thFE-BOTW.part1.rar_mirrors

part2:
www.mirrorcreator.com/files/0GYZWYU7/13thFE-BOTW.part2.rar_mirrors

CD10
part1:
www.mirrorcreator.com/files/0UY1TSFC/13thFE-DIT.part1.rar_mirrors

part2:
www.mirrorcreator.com/files/0C9X5IW9/13thFE-DIT.part2.rar_mirrors

13th Floor Elevators - Fire Engine

13th Floor Elevators - You're Gonna Miss Me

Guns N' Roses-Appetite For Destruction

2009-06-27T02:00:00.005+03:00

Info By Wiki:
Appetite for Destruction is the debut studio album by American hard rock band Guns N' Roses. Released in 1987 it was well received by critics and topped the American Billboard 200 chart. As of September 2008, the album has been certified diamond (plus 18x platinum) by the RIAA, accumulating worldwide sales in excess of twenty-eight million as of October 2008.The album still remains the fastest-selling debut album in history.[4] Appetite for Destruction is considered by many to be one of the greatest hard rock albums of the 20th century

Guns N' Roses-Appetite for Destruction @320

1. Welcome to the Jungle
2. It's So Easy
3. Nightrain
4. Out ta Get Me
5. Mr. Brownstone
6. Paradise City
7. My Michelle
8. Think About You
9. Sweet Child o' Mine
10.You're Crazy
11.Anything Goes
12.Rocket Queen

Here:
part1:
www.mirrorcreator.com/files/0H5DCBZ3/GAR-AFD.part1.rar_mirrors

part2:
www.mirrorcreator.com/files/GV4N8RR4/GAR-AFD.part2.rar_mirrors

Metallica-Ride the Lightning

2009-06-25T22:47:00.010+03:00

Ride the Lightning is the second album by American heavy metal band Metallica, released on July 27, 1984 by Megaforce Records and re-released by Elektra Records on November 19, 1984.Ride the Lightning has sold over 5 million copies in the U.S. alone

Metallica-Ride the Lightning @320
1. Fight Fire with Fire
2. Ride the Lightning
3. For Whom the Bell Tolls
4. Fade to Black
5. Trapped Under Ice
6. Escape
7. Creeping Death
8. The Call of Ktulu

Here:

part1:
asapload.com/228498

part2:
www.mirrorcreator.com/files/58AXNDCB/M-RTL.part2.rar_mirrors

Beatles-Let It Be (Re-Up)

2009-06-23T16:45:00.004+03:00

Info By Wiki:

Let It Be is the final original album released by The Beatles. It was released on 8 May 1970 by the band's own Apple Records label, shortly after the group's announced breakup. It was ranked number 86 in Rolling Stone's list of the 500 greatest albums of all time in 2003.[1]

Most of Let It Be was recorded in January 1969, before the recording and release of the album Abbey Road. The Beatles were unhappy with the album and it was temporarily shelved. Let It Be was later 're-produced' by Phil Spector in 1970

Beatles-Let It Be @320

1.Two of Us
2.Dig a Pony
3.Across the Universe
4.I Me Mine
5.Dig It
6.Let It Be
7.Maggie Mae
8. I've Got a Feeling
9.One After 909
10.The Long and Winding Road
11.For You Blue
12.Get Back

Here: www.mirrorcreator.com/files/ICSMOYHO/B-LIB.rar_mirrors

Beatles-Get Back(Rooftop Sessions)

Beatles-Get Back(Studio)

Beatles-Get Back(Rooftop Sessions)

Beatles-I've Got a Feeling

Beatles-Dig a Pony

Beatles-Two of Us

Beatles-Let It Be

Country Joe And The Fish-The Life And Times Of Country Joe And The Fish From Haight-Ashbury To Woodstock (Re-Up)

2009-06-21T16:06:00.003+03:00

Review by Bruce Eder:

This 77-minute CD is close to an ideal compilation, reaching back to before the band's beginnings for the original 1965 recording of "I-Feel-Like-I'm-Fixin'-to-Die Rag" and across seven of the better cuts off of Electric Music for the Mind and Body, up through the Woodstock Festival and the band's farewell concert that same year at the Fillmore West. It reels in most of the notable album cuts in between, all in surprisingly good sound (not usually a strong point on Vanguard CDs of the late '80s). The 19 songs, which don't follow a strict chronological order, encompass some of the band's most celebrated experimental material, as well as more traditionally structured songs such as the fiery double-lead guitar workout "Death Sound Blues," the catchy, folk-rock-style "Sing Sing Sing," and the counterculture singalong "Marijuana" and works of serious personal significance (and intimately focused genius), including "Grace" and "Janis." The disc offers a good balance between the various sides of the group's sound and includes several notable live tracks, including the November 1968 Fillmore East performance of "Superbird," an anti-Lyndon Johnson song that dated back to 1965 and which is adapted here to include an attack on president-elect Richard Nixon. The sound is amazingly good and consistent throughout, and the track order, as well as the music itself, is downright spellbinding at times; the annotation is minimal, but this CD really has only a single flaw -- apparently, between the 1965 original version of "I-Feel-Like-I'm-Fixin'-to-Die Rag" and the 1969 Woodstock performance, there was no room for the standard studio version off of the band's second LP.

Country Joe And The Fish- The Life And Times Of Country Joe And The Fish From Haight-Ashbury To Woodstock @320
1. I-Feel-Like-I'm-Fixin'-To-Die Rag
2. Bass Strings
3. Flying High
4. Porpoise Mouth
5. An Untitled Protest
6. Who Am I
7. Grace
8. Waltzing In The Moonlight
9. Death Sound Blues
10. Janis
11. Sing Sing Sing
12. Superbird (Tricky Dick)
13. Not So Sweet Martha Lorraine
14. Marijuana
15. Rock And Soul Music /Love
16. Crystal Blues
17. Masked Marauder
18. Love Machine
19. The Fish Cheer / I-Feel-Like-I'm-Fixin'-To-Die Rag

Here:
part1: www.mirrorcreator.com/files/1WNVIZ7N/CJATF-TLATOCJATF.part1.rar_mirrors
part2: www.mirrorcreator.com/files/8SWN0FZR/CJATF-TLATOCJATF.part2.rar_mirrors

Deep Purple-Kneel & Pray (Live Montreux Casino, Switzerland, October 4th 1969)

2009-06-20T15:22:00.010+03:00

Deep Purple-Kneel & Pray @320
1. Speed King-Kneel & Pray
2. Hush
3. Child In Time
4. Wring That Neck
5. Oaint It Black
6. Mandrake Root
7. Kentucky Women

Here. part1:
www.mirrorcreator.com/files/NFUSGWKR/DP-KAP.part1.rar_mirrors

part2:
www.mirrorcreator.com/files/BYWKGOTL/DP-KAP.part2.rar_mirrors

The Psychedelic Years 1966-1969

2009-06-08T20:22:00.027+03:00

This 1992 3CD compilation is the companion to "The Psychedelic Years Revisited"

The Psychedelic Years 1966-1969 @320

CD1 America
1)Byrds-The Eight Miles High
2)Jefferson Airplane - White Rabbit
3)Buffalo Springfield -For What It's Worth
4)Turtles, The -Happy Together
5)Lemon Pipers - Green Tambourine
6)Association, The - Along Comes Mary
7)Vanilla Fudge - You Keep Me Hangin' On
8)Jefferson Airplane - Somebody To Love
9)Count Five - Psychotic Reaction
10)Electric Prunes - The I Had Too Much To Dream (Last Night)
11)Syndicate Of Sound - Little Girl
12)Blues Magoos - (We Ain't Got) Nothin' Yet
13)Iron Butterfly - In-A-Gadda-Da-Vida
14)Chambers Brothers - The Time Has Come Today
15)Spirit - Fresh Garbage
16)Captain Beefheart - Electricity
17)Leaves, The - Lemon Princess
18)13th Floor Elevators - You're Gonna Miss Me
19)United States Of America, The - I Won't Leave My Wooden Wife For You, Sugar
20)Canned Heat - On The Road Again
21)Youngbloods, The - Get Together

CD2 American Album Classics

1)Love - Alone Again Or
2)It's A Beautiful Day - White Bird
3)Beach Boys, The - Cabinessence
4)Spirit - I Got A Line For You
5)Tim Buckley - Buzzin' Fly
6)Jefferson Airplane - House At Pooneil Corners
7)Buffalo Springfield - Expecting To Fly
8)HP Lovecraft - Spin, Spin, Spin
9)Moby Grape - Hey Grandma
10)Velvet Underground, The & Nico - Venus In Furs
11)Quicksilver Messenger Service - Mona
12)Youngbloods, The - Darkness, Darkness

CD3 Great Britain

1)Donovan - Sunshine Superman
2)Yardbirds, The - Shapes Of Things
3)Procol Harum - A Whiter Shade Of Pale
4)Cream - Strange Brew
5)Animals, The - San Franciscan Nights
6)Small Faces - Itchycoo Park
7)Simon Dupree And The Big Sound - Kites
8)Crazy World Of Arthur Brown, The - Fire!
9)Move, The - Flowers In The Rain
10)Tomorrow - My White Bicycle
11)July - Dandelion Seeds
12)Pretty Things, The - S. F. Sorrow Is Born
13) Idle Race, The - Skeleton & The Roundabout
14) Apostolic Intervention - Tell Me Have You Ever Seen Me
15) Kippington Lodge - Shy Boy
16) Incredible String Band, The - Painting Box
17) Cream - Sunshine Of Your Love

Here:

CD1: www.mirrorcreator.com/files/1GYEIHTG/TPY-CD1.part1.rar_mirrors
www.mirrorcreator.com/files/0NM83U2Z/TPY-CD1.part2.rar_mirrors

CD2: www.mirrorcreator.com/files/O7KGNWQF/TPY-CD2.part1.rar_mirrors
www.mirrorcreator.com/files/1LZ3CXVB/TPY-CD2.part2.rar_mirrors

CD3:www.mirrorcreator.com/files/JB8OHVH1/TPY-CD3.part1.rar_mirrors
www.mirrorcreator.com/files/1BYKIKSW/TPY-CD3.part2.rar_mirrors

Incredible String Band - Painting Box

Troggs-Wild Thing

2009-05-20T21:22:00.009+03:00

The Troggs are an English rock band from the 1960s that had a number of hits in Britain and the USA, including their most famous song, "Wild Thing". The Troggs were from the town of Andover in southern England. The band were originally called The Troglodytes.

1 Wild Thing
2 Love Is All Around
3 Little Pretty Thing
4 Anyway That You Want Me
5 I Can't Control Myself
6 Strange Movies
7 Widge You
8 Feels Like A Woman
9 With A Girl Like You
10 I Love You Baby
11 Black Bottom
12 I Do Do
13 Bass For My Birthday
14 Last Night
15 Hot Days
16 I Don't

part1:mirrorcreator.com/files/0SCQUJ3S/T-WT.part1.rar_mirrors
part2:mirrorcreator.com/files/8VHNNZBB/T-WT.part2.rar_mirrors

Troggs-Wild Thing

Jimi Hendrix-Wild Thing(Monterey 1967)

Syd Barrett-The Madcap Laughs(Re-Up)

2009-05-18T14:31:00.010+03:00

Review By Andrian Denning

Roger Waters and Dave Gilmour helped finish this album, taking over production duties and

encouraging Syd at a point where it looked like 'The Madcap Laughs' was never going to be finished at all. Syd had bought a new flat that was so close to where Dave Gilmour lived, that Dave could see right into Syd's kitchen. Although Dave had replaced Syd in Pink Floyd, he was the one member of the group that remained closest to Syd. It's often mistakenly believed that the decline of Syd Barrett occurred seemingly overnight, the first time he took LSD, which is not the case at all. Syd's consumption of LSD was large and significant in precipitating his downfall, there's no doubt about that, but Syd was predisposed to mental-illness in any event. He was uncomfortable with the level of fame he'd achieved with Pink Floyd. Those things would have been the case, LSD or no LSD. It certainly shortened his career, battling not only with images his own mind gave him, but also the bad effects of LSD must have been extremely difficult and frightening. Personally, I was once diagnosed as suffering from 'Severe Depressive Psychosis', that psychosis part worrying me especially. I had audio and visual hallucinations, and the only drugs I'd taken were a variety of prescribed anti-depressants. Mental Illness is a terrible debilitating disease that is too often misunderstood or under-estimated. Severe depression is a very difficult thing to overcome, more often than not, a life-time battle. Chances are, you'll never achieve what you were once capable of. It hurts me. When I went to university, there was a certain time a drug related to LSD was offered to me, I turned it down flat, quite aware of what it could do to me, given the way my mind was pre-disposed. At the time Syd took LSD, the after effects were a lot less well known, and his taking of this drug certainly contributed heavily to his downfall, but was not at all the only reason he became the way he became. Another myth is that Syd was artistically washed up following his departure from Pink Floyd and had nothing more to offer bar a backlog of old compositions. At least one of the songs on this album was written virtually on the spot, in the studio. Others definitely post-date his final days with Pink Floyd, and others were indeed written whilst he was still an active member of Pink Floyd. Does any of this matter? It should give everybody a greater understanding, Syd was still writing good songs all through 1968 and 1969, his decline was harrowing but gradual. One of Syd's best new songs, 'Opel' was inexplicably left off this debut set replaced by a couple of songs produced by Roger and Dave that openly let everyone see exactly how difficult it was for Syd to record these songs at all. The sound of Syd audibly breaking up on record amid the sound of pages of lyrics being turned whilst he loses his place does nobody any favours at all, least of all Syd. The other way to look at the songs, 'Feel', 'If It's In Me' and 'She Took A Long Cold Look' is that they painted an accurate picture of the state Syd was in at the time. That was the justification Dave Gilmour later gave for their inclusion, but the oversight of 'Opel' was a tragic omission, not 'corrected' until it gave it's name to a 1988 LP of out-takes. But, given the sound of a man falling apart, I've still given this album a '9'? How so? Well, plenty of the songs, the actual words and melodies, the vocal sounds and emotionally affecting qualities - are of the highest order. The sound of the music is usually sparse, certainly in comparison with Syd's Pink Floyd material, but this light, sparse feel suits the material, and suits the state Syd was in at the time. 'Terrapin' is a lovely song with nice acoustic strumming and very interesting lyrics. 'No Good Trying' features a fuller group performance with electric instrumentation, sounds messy but somehow still holds itself together. The differing rhythms and instrumentation that seemingly doesn't know what it's doing at all actually create a very satisfying and interesting musical track. 'Love You' is super-sweet and delightfully bouncy and silly, 'No Mans Land' another performance featuring bass, electric and drums and it's pretty damn fine, actually. The distortion, the lyrics, the vocals. There is something captivating about this loose, yet still just about together performance. 'Dark Globe' is Syd and guitar, the lyrics are again something striking and worthy, the vocal here reveals the strains and state of Syd's mind. There is an incredible affecting loneliness and humanity that is pretty much unsurpassed in Rock music. 'Here I Go' for a song reputedly written on the spot in the studio is pretty damn great, very charming. 'Octopus' evolved from a composition called 'Clowns And Jugglers' and it's this type of material Syd may have brought to Pink Floyd had he still been a member. It's no great stretch of the imagination to picture this as a 'Piper' styled psychedelic adventure. As recorded here, it's still a mighty good song. This albums closing sequence is difficult, beautiful, ugly, saddening - still captivating. Syd was reportedly very proud of 'Golden Hair', a James Joyce poem set to music, and very beautiful in its simplicity and pure quality it is. 'Long Gone' is Syd, a jaunty guitar figure, another good song. 'She Took A Long Cool Look', 'Feel' and 'If Its In Me' combined together..... words fail me completely. Why does 'If Its In Me' have to include Syd singing completely waywardly, before the song falls apart? On the otherhand, there's a resonance and such emotion here. This isn't a sequence of songs, especially this latter 'If Its In Me' that is easy or 'enjoyable' in the usual sense, but if you like music that affects your emotions in a way that isn't music to party or dance to, then here's a great example. The closing song on the other hand is totally 'together' in an admittedly fragile fashion. The song is soft, delicate - the guitar sounds absolutely beautiful and gorgeous, sparse, interweaving, pretty and hypnotic. There is little else in music like this 'A Madcap Laughs' album. From an objective viewpoint, it'd be hard to justify giving this a '9', but from an emotional viewpoint and a subjective viewpoint, it's easy to give this a '9'. There's something about this album, a certainly character, that is unmatched anywhere else

Wikipedia:

The Madcap Laughs was Syd Barrett's first solo album after being replaced in Pink Floyd by his old school friend David Gilmour. After leaving his parent group, Barrett began recording sessions with former Pink Floyd-turned-Syd Barrett manager Peter Jenner in May 1968. Although the sessions were brief, and they produced some fine material, the project was abandoned for almost a year while Barrett spent much of the year as a recluse.
In April 1969, Malcolm Jones took over the project and Barrett began working on newer material, while reworking the 1968 recordings. Session musicians, namely, members of The Sof Machine, as well as Humble Pie drummer Jerry Shirley were also called in to augment Barrett's songs. It is still a mystery why Jones abandoned production responsibilities, at the end of May ,so soon after having assumed them.The Making of the Madcap Laughs Jones recollections of the sessions, show that he and Barrett got on well together and had in fact completed half of the album before the new producers took over. Roger Waters and David Gilmour were in the process of completing Pink Floyd's ambitious Ummagumma album when they got involved with The Madcap Laughs that July and helped Barrett finish his album, "in a two-day sprint" according to Rick Sanders author of 'Pink Floyd' (Futura Publications, 1976). .
The album featured a rather unorthodox recording process, in which Syd would provide a backing track of his own singing accompanied by acoustic guitar, over which the session musicians would overdub the rest of the arrangement. Unfortunately, Syd's playing and singing were highly erratic and unpredictable--he skipped or added beats seemingly at random, or otherwise he would strum on a single note for a long time before unexpectedly reverting back to the main portion of the song. This was all much to the frustration of the session musicians; a close listen to several tracks [in particular "No Good Trying" and "Love You"] will reveal the backing band hovering uncertainly here, or being caught off-guard by a chord change there. (During an interview, Robert Wyatt recounted that musicians would ask "What key is that in, Syd?" and Barrett would reply "Yeah", or "That's funny") Syd would not allow the musicians to rehearse or re-record their overdubs, insisting that they sounded fine. After several months of intermittent recording, the album was finally deemed complete.
"Octopus" was released as a single in November 1969 and the album itself followed in January 1970. It reached #40 in the UK at the time[1] and was fairly well-reviewed

Syd Barrett-The Madcap Laughs @320

1Terrapin
2No Good Trying
3Love You
4No Man's Land
5Dark Globe
6Here I Go
7Octopus
8Golden Hair

9Long Gone
10She Took a Long Cold Look
11Feel
12If it's In You
13Late Night
14Octopus (Takes 1 & 2)

15It's No Good Trying (Take 5)
16Love You" (Take 1)
17Love You" (Take 3)
18She Took A Long Cold Look At Me (Take 4)
19Golden Hair (Take 5)

Tracks 14-19: Bonus tracks

part1:mirrorcreator.com/files/08P5ZCHZ/SB-TML.part1.rar_mirrors
part2:mirrorcreator.com/files/04C7SX7E/SB-TML.part2.rar_mirrors

Manuel de Falla

2009-05-14T15:37:00.013+03:00

Manuel de Falla y Matheu (November 23, 1876 – November 14, 1946) was a Spanish composer of classical music.

-El amor brujo (Love, the Magician) (Tracks 1-13) @320
London Symphony Orchestra
Conductor:García Navarro
Mezzo-Soprano:Teresa Berganza

-Noches en los jardines de España (Nights in the Gardens of Spain) (13-16) @320
Bavarian Radio Symphony Orchestra
Conductor:Rafael Kubelík
Piano:Margrit Weber

Here:part1: mirrorcreator.com/files/KG1BIIKD/MDF.part1.rar_mirrors
part2:sharebee.com/26673769

Vivaldi Antonio

2009-05-12T21:40:00.006+03:00
1)The Four Seasons "Le quattro stagioni" 1-12
"La primavera" 1-3
"L'estate" 4-6
"L'autunno" 7-9
"L'inverno" 10-12

2)Concerto E Major "L'amoroso". RV 271
13-15

3)Sinfonia B minor "Al Santo Sepolcro" RV 169
16-17

4)Concerto G Major "Alla rustica" RV 151
18-20

Berlin Philharmonic Orchestra.
Conductor: Herbert von Karajan

@320

Here-part1:mirrorcreator.com/files/1GZJ3WAG/VA.part1.rar_mirrors
-part2:mirrorcreator.com/files/JPX76WAY/VA.part2.rar_mirrors

Byrds-Greatest Hits(Re-Up)

2009-05-12T18:23:00.011+03:00
Info By Wiki:

This compilation serves as the survey of the group's hit singles from 1965 to 1967 inclusive, the time when they were a force on the singles chart. Every A-side from this time period appears, with the exceptions of "Set You Free This Time," #79 "Have You Seen Her Face" #74, and "Lady Friend," #82 none of which cracked the Top 40. The set includes three favored album tracks, with the remaining eight singles tracks peaking at the following positions on the Billboard Hit 100: "5D (Fifth Dimension)" #44; "All I Really Want to Do" #40; "Mr. Spaceman" #36; "My Back Pages" #30; "So You Want to Be a Rock 'n' Roll Star" #29; "Eight Miles High" #14; "Turn! Turn! Turn!" #1; and "Mr. Tambourine Man" also #1. I'll Feel A Whole Lot Better peaked at #103 on the Billboard Singles Chart as the B-Side of All I Really Want To Do. The last three records were among the most innovative and influential of the entire decade, at a time when singles, at least in rock and roll, were as important entities in their own right as albums, and generally more so. "Turn! Turn! Turn!" summed up sixties countercultural values as much as "Blowin' in the Wind," "(I Can't Get No) Satisfaction," or "All You Need Is Love," while "Mr. Tambourine Man" and "Eight Miles High" helped to introduce the sub-genres of folk-rock and psychedelia respectively into the popular music of the day.

Byrds-Greatest Hits @320
1 Mr. Tambourine Man
2 I'll Feel a Whole Lot Better
3 The Bells of Rhymney
4 Turn! Turn! Turn!
5 All I Really Want to Do
6 Chimes of Freedom
7 Eight Miles High
8 Mr. Spaceman
9 5D (Fifth Dimension )
10 So You Want to Be a Rock 'n' Roll Star
11 My Back Pages

Here: mirrorcreator.com/files/1PYZXCKT/B-GH.rar_mirrors

The Byrds-Mr. Tambourine Man (Frankie Avalon-5/11/65)

The Byrds-Turn! Turn! Turn!

The Byrds-Eight Miles High

The Byrds-Eight Miles High

The Byrds-Eight Miles High(9/23/70)

Steely Dan-Can't Buy A Thrill

2009-05-08T20:39:00.008+03:00

Info By Wiki:

Steely Dan is an American jazz-rock band centered on core members Walter Becker and Donald Fagen. The band reached a peak of popularity in the late 1970s, with the release of seven albums blending elements of jazz, rock, funk, R&B, and pop.Rolling Stone magazine has called them "the perfect musical antiheroes for the Seventies.

Can't Buy a Thrill
is the first album by Steely Dan. Originally released in 1972, the album was a huge success. It went gold, and then platinum, peaking at #17 on the charts. In 2003, the album was ranked number 238 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Steely Dan-Can't Buy A Thrill @320

1. Do It Again
2. Dirty Work
3. Kings
4. Midnite Cruiser
5. Only A Fool Would Say That
6. Reelin' In The Years
7. Fire In The Hole
8. Brooklyn
9. Change Of The Guard
10.Turn That Heartbeat Over Again

Here: mirrorcreator.com/files/PKQPQIYF/SD-CBAT.rar_mirrors (sent by Jimmy_B)

Steely Dan-Reelin' in the Years (Midnight Special 1973)

King Crimson-In The Court Of The Crimson King (Re-Up)

2009-05-02T14:48:00.003+03:00

Sort history of the group By Wiki:

King Crimson is a progressive rock band founded by guitarist Robert Fripp and drummer Michael Giles in 1969.

They have typically been categorised as a foundational progressive rock group, although they incorporate diverse influences ranging from jazz, classical and experimental music to psychedelic, New Wave, hard rock, gamelan and folk music. King Crimson have garnered little radio or music video airplay, but gained a large cult following.Their debut album, In the Court of the Crimson King, is widely regarded as a landmark in progressive rock. Their later excursions into even more unconventional territory have been influential on many contemporary musical artists.

Throughout the early-1970s, King Crimson's membership fluctuated as the band explored elements of jazz and funk. As the band developed an improvisational sound influenced by hard rock, the band's personnel became more stable in the mid-1970s, before breaking up in 1974. The band re-formed in 1981 for three years, influenced by New Wave and gamelan music, before breaking up again for around a decade. Following their 1994 reunion, King Crimson blended aspects of their 1980s and 1970s sound with influences from more recent musical genres, a synthesis which has continued into the 21st century.

King Crimson's membership has fluctuated considerably throughout their existence, with eighteen musicians and two lyricists passing through the ranks as full band members. Fripp, the only constant member of King Crimson, has arranged several distinct lineups, but has stated that he does not necessarily consider himself the band's leader. He describes King Crimson as "a way of doing things",and notes that he never originally intended to be seen as the head of the group

King Crimson-In The Court Of The Crimson King @320
1)21st Century Schizoid Man
2)I Talk to the Wind
3)Epitaph
4)Moonchild
5)The Court of the Crimson King

Here: part1:sharebee.com/3459b675
part2:sharebee.com/33204663

Trapeze-Medusa (Re-Up)

2009-04-23T14:28:00.005+03:00

Info By Wiki
Trapeze were an English rock band formed in March 1969, by vocalist John Jones and guitarist/keyboardist Terry Rowley (who named the band), with guitarist Mel Galley, singer/bassist Glenn Hughes, and drummer Dave Holland. The band had a fairly fluid line up, finally dissolving in 1994, and although they never found commercial success themselves, several members went on to join better known bands including Deep Purple, Whitesnake, Judas Priest and Uriah Heep.
Trapeze issued its self-titled debut album Trapeze in 1970, but early that year Jones and Rowley would return to Montanas. Now in late 1970 the more familiar trio of Galley, Hughes, and Holland surfaced for the first time with the album Medusa also released in late 1970.Trapeze would tour as this trio until early 1973. The band toured mostly in the UK and the Southern U.S, their commercial success was minimal up to this point.You Are the Music...We're Just the Band released in 1972 saw Glenn Hughes leave the band after the 1973 tour for the first time to replace Roger Glover in Deep Purple. After the departure of Glenn Hughes the bands profile and sales grew, mostly of the first three albums that Hughes was on but their concert base grew with them now playing small arenas all over the U.S.
In 1974 the band released The Final Swing a best of compilation that had two previously unreleased tracks called "Good Love" and the hit song, "Dat’s it" that was a fan favorite at the live shows for many years prior to its release. Guitarist Rob Kendrick and bassist Pete Wright signed on for Trapeze's 1974 album Hot Wire that see the band go to a more hard rock sound just like the next release in 1976 that saw a second self-titled album also named Trapeze.

Medusa is the second album by Trapeze

Vincent Jeffries:
Not only is Medusa the finest offering from '70s outfit Trapeze, it is one of the decade's most underappreciated hard rock recordings. With a lineup that consisted of future Deep Purple, Judas Priest, and Black Sabbath members, there seems to be proof that at least a few fellow musicians appreciated this 1971 offering. Fans of his later work might be surprised by Glenn Hughes' soulful vocal delivery, especially on the mid-tempo blues-rockers like "Black Cloud" and "Your Love Is Alright." Guitarist Mel Galley also deserves mention for his sparse approach to classic rock riffing that is catchy and affective. Even the ballads are focused, memorable, and unique. There are some melodic moments on the closing title track that sound almost as if a '90s alt-rock crooner composed them. Considering that Medusa predates many similar, and more successful, classic rock LPs from the likes of Bad Company, Nazareth, Foreigner, and others, it's a wonder that the record isn't mentioned more when influential albums of this era are discussed

Trapeze-Medusa @320

1Black Cloud

2Jury
3Your Love Is Alright
4Touch My Life
5Seafull
6Makes You Wanna Cry
7Medusa

Here: asapload.com/218959

Psychedelic Years Revisited(Re-Up)

2009-04-20T18:00:00.023+03:00

Review by Lindsay Planer :
This three-CD U.K. collection is the companion to Psychedelic Years, Vol. 1 (1991); both include 50 seminal platters from either side of the Atlantic. Rather than simply retreading material that is easily obtainable on a plethora of other "oldies" compilations, Psychedelic Years Revisited delves into a secondary layer of harder-to-locate hits and deep-catalog album cuts from a wide spectrum of artists ranging from well-known pop/folk rockers such as the Byrds ("5D [Fifth Dimension]" and "Change Is Now") to the virtually and utterly obscure Freudian Complex ("Lake Baikal"). Disc one includes one and a half dozen cuts that are parenthetically corralled under the moniker "Back in the U.S.A." and run the gamut from early contributions by Captain Beefheart ("Abba Zabba") and criminally unknown Bay Area psych rocker Kak ("Rain") to the trippy side of one-hit wonders such as the Electric Prunes ("Get Me to the World on Time") and the Lemon Pipers ("Through With You"). Disc two crosses the pond with 18 platters from "Back in the British Isles." Once again, more established acts such as Traffic ("Paper Sun") and Cream ("Sweet Wine") are juxtaposed with the comparatively obscure Art ("Supernatural Fairy-Tales") and Heavy Jelly ("I Keep Singing That Same Old Song"). In between are initial works from Electric Light Orchestra predecessors the Move ("I Can Hear the Grass Grow") and Keith Emerson's pre-ELP combo the Nice ("America"). Disc three is the proverbial sweet windowpane (or microdot) on the proceedings with an additional 14 "Far Out" numbers. Included here are some of the greatest "lost" classics and somewhat obscured psych from the likes of H.P. Lovecraft ("Electrallentando"), Nico ("Evening of Light"), and Steppenwolf precursors the Sparrow ("Isn't It Strange"). Accompanying the discs is a 24-page liner-notes booklet containing brief annotative paragraphs, photos, and pertinent discographical information. Although a majority of the material on Psychedelic Years Revisited has been issued on artist-related discs as well as other compilations -- such as the Nuggets series -- there are few as thorough or as consistently entertaining

Psychedelic Years Revisited @320

CD1:
01)The Electric Prunes - Get Me To The World On Time
02)The Byrds - 5D (Fifth Dimension)
03)Love - Your Mind And We Belong Together
04)Spirit - Dark Eyed Woman
05)Captain Beefheart - Abba Zabba
06)Kaleidoscope- Little Orphan Annie
07)Kak - Rain
08)The Sopwith Camel - Cellophane Woman
09)The Left Banke - Desiree
10)Ultimate Spinach- Ego Trip
11)The Amboy Dukes - Journey To The Centre Of The Mind
12)The Velvet Underground - What Goes On (Live)
13)Nico - Little Sister
14)The Vacels - Can You Please Crawl Out Your Window
15)The Lemon Pipers - Through With You
16)Eric Burdon & The Animals - Monterey
17)Eric Burdon & The Animals - Sky Pilot
18)H.P. Lovecraft - The White Ship

CD2:
01)Traffic - Paper Sun
02)The Move - I Can Hear The Grass Grow
03)Cream - Sweet Wine
04)Nirvana (UK) - Rainbow Chaser
05)The Misunderstood - I Can Take You To The Sun
06)The Misunderstood - Children Of The Sun
07)Les Fleurs De Lys - Circles
08)The Crazy World Of Arthur Brown - Devil's Grip
09)The Purple Gang - Granny Takes A Trip
10)The Nice - America
11)Art Supernatural - Fairy Tales
12)Quintessence - Gungamai
13)Steamhammer - Passing Through
14)The Incredible String Band - Log Cabin Home In The Sky
15)Dr. Strangely Strange - Strangely Strange But Oddly Normal
16)Eire Apparent - Yes, I Need Someone
17)Man - Sudden Life
18)Heavy Jelly - I Keep Singing That Same Old Song

CD3:
01)The Byrds - Change Is Now
02)Country Joe And The Fish - Bass Strings
03)Country Joe And The Fish - Section 43
04)The Sparrow - Isn't It Strange
05)H.P. Lovecraft - Electrallentando
06)Jimi Hendrix - Voodoo Chile (Slight Return)(Live)
07)Love - August
08)Moby Grape - He
09)Kak - Lemonaide Kid
10)Pearls Before Swine - Wizard Of Is
11)Nico - Evening Of Light
12)John Cale - Gideon's Bible
13)Captain Beefheart - Trust Us (Alternate Version)
14)The Freudian Complex - Lake Baikal

Note :This compilation was originally uploaded by aXDgwad so all the credit goes to him/her

part1: asapload.com/218704
part2: sharebee.com/cf0da923
part3: asapload.com/218689
part4: asapload.com/218703
part5: sharebee.com/06908fc6

Budgie-Budgie

2009-04-16T16:32:00.011+03:00

Budgie is Budgie's first album. It was released in June 1971.

Budgie-Budgie @320
1 Guts
2 Everthing in My Heart
3 Author Listen
4 Nude Disintegrating Parachutist Woman
5 Rape of the Locks
6 All Night Petrol
7 You and I
8 Homicidal

Here: sharebee.com/f9d33489

Budgie-Rape Of The Locks

Budgie-Squawk

2009-04-15T23:59:00.006+03:00

Info By Wiki:
Budgie formed in 1967 in Cardiff, Wales under the name Hills Contemporary Grass. Their original line-up consisted of Burke Shelley (b. John Burke Shelley, 10 April 1947, Tiger Bay, Cardiff, South Glamorgan, Wales) on vocals and bass, Tony Bourge (b. Anthony James Bourge, 24 November 1948, Tiger Bay, Cardiff, South Glamorgan, South Wales) on guitar and vocals, and Ray Phillips (b. Raymond John Phillips, 1 March 1949, Tiger Bay, Cardiff, South Glamorgan, South Wales) on drums.[3] After performing several gigs in 1968, the band changed their name to Budgie the following year and recorded their first demo then.[1]

Their debut album in strong blues oriented hard rock lines was recorded at Rockfield Studios with Black Sabbath producer Rodger Bain and released in 1971, followed by Squawk in 1972. The 3rd album, Never Turn Your Back On a Friend (1973), contained "Breadfan", later covered by Metallica. (Metallica also covered another Budgie song, "Crash Course In Brain Surgery"). Ray Philips left the band before the fourth album In for the Kill was recorded and was replaced by Pete Boot (b. Peter Charles Boot, 30 September 1950, West Bromwich, Staffordshire).

In late 1974, the band were joined by drummer Steve Williams for the album Bandolier, but Bourge left mid 1978 and finally was replaced by "Big" John Thomas (b. 21 February 1952) in late 1979. Music from the 1978 LP Impeckable was featured in the 1979 film J-Men Forever (shown frequently on the USA Network's "Night Flight" television series in the 1980s) which is now a cult classic.

The band continued to have success during the New Wave of British Heavy Metal scene until 1982, even headlining the Reading Festival that year (a year before they played there a main show with headliner Whitesnake). They built a particular following in Poland,[citation needed] where they played as the first heavy metal band behind the Iron Curtain in 1982. Also notable was their tour support of Ozzy Osbourne in 1984.

The band stopped gigging in 1988, members went into studio production, occasionally guesting on other projects; Thomas most notably worked on the Phenomena CD with Glenn Hughes out of the Black Sabbath studios. Thomas left the band in 2001 after headlining the "Welsh Legends Of Rock" outdoor festival

Squawk is Budgie's second album. Released in September 1972, this recording was certified Gold in 1973. Cover art by Roger Dean

Budgie-Squawk @320

1. Whiskey River Listen
2. Rocking Man Listen
3. Rolling Home Again Listen
4. Make Me Happy Listen
5. Hot as a Docker's Armpit Listen
6. Drugstore Woman Listen
7. Bottled Listen
8. Young Is a World Listen
9. Stranded

Here:
www.gazup.com/x9cgI-b-s.rar

Mountain-Roll Over Beethoven (Re-Up)

2009-04-12T18:45:00.007+03:00

Info By Wiki:

The band formed shortly after Leslie West, having left the Long Island R&B band the Vagrants, recorded a solo album titled Mountain with bassist and former Cream collaborator Felix Pappalardi producing. The album also featured former Remains drummer N.D. Smart. West's raw vocals and melodic, bluesy guitar style, and Pappalardi's heavy and elegant bass lines were the elements of Mountain's distinctive sound. Though heavily inspired by seminal British blues-rock band Cream (with which Pappalardi had been a frequent collaborator: he produced Disraeli Gears, Goodbye and Wheels of Fire, also contributing viola, brass, bells and organ to the latter), keyboardist Steve Knight was added to avoid Mountain being perceived as a simple imitation.

They played their fourth live concert at the 1969 Woodstock Festival in Bethel, New York (later chronicling the experience in their song "For Yasgur's Farm"), but the band did not appear in the film of the event nor was their performance included on the festival's first live album. Soon after, Smart was replaced by Laurence "Corky" Laing. Their debut, Climbing!, was released in 1970 and featured the band's signature song, "Mississippi Queen", which reached the middle of the top 40 charts. The album itself reached the top 20 on the US album charts.

The follow-up album Nantucket Sleighride, released in 1971, also reached the top 20 but failed to yield a hit single. The title track was used as the theme to ITV's Sunday political program Weekend World. After these early releases the band continued to receive a certain measure of critical acclaim but never again achieved great commercial success.

After Nantucket Sleighride, the band produced Flowers of Evil consisting of one side of studio material and one live side, culled from a concert at New York City's legendary Fillmore East. The following year, Mountain broke up. Shortly after, West and Laing formed West, Bruce and Laing with former Cream bassist Jack Bruce, producing two studio albums and a live release over the next two years.

In 1974 West and Pappalardi reformed Mountain with Allan Schwartzberg on drums and Bob Mann (of pioneering jazz rock band Dreams) on keyboards and guitar – a tour yielded the double live album Twin Peaks. The studio work Avalanche, with rhythm guitarist David Perry and Corky Laing once again on drums, was the last heard from the band for over a decade.

On April 17, 1983, Gail Collins Pappalardi, Felix's wife and songwriting partner who had designed many of the band's album covers, shot Pappalardi in the neck in their fifth-floor East Side Manhattan apartment. He was pronounced dead at the scene and Collins was charged with second-degree murder. Later cleared of that charge, she convicted of the lesser criminally negligent homicide and sentenced to 16 months to four years in prison. After her release from jail, she vanished into private life.

Mountain reformed in 1985, releasing Go For Your Life. They have continued to record and tour, with bassist Richie Scarlet (known for his work with Ace Frehley, Sebastian Bach and his multiple solo records) rounding out the lineup. Their most recent album is 2007's Masters of War, featuring 12 Bob Dylan covers and a guest appearance from Ozzy Osbourne.

Mountain-Roll Over Beethoven @320

Live performance from the Capitol Theatre in Passaic, NJ, on November 3, 1974

1 Jingle Bells/Get Out Of My Life Woman (8:35)
2 You Better Believe It (6:05)
3 It's For You (7:43)
4 Theme For An Imaginary Western (4:54)
5 Whole Lotta Shaking Goin' On (2:39)
6 Never In My Life (4:22)
7 Roll Over Beethoven (1:34)
8 Mississippi Queen (6:00)
9 Nantucket Sleighride (10:39 )

Here: part1: sharebee.com/6b55e1d1
part2: mirrorcreator.com/files/0H3IMNZ7/M-ROB.part2.rar_mirrors
or sharebee.com/88523ffe

Beatles-Sgt. Pepper's Lonely Hearts Club Band

2009-04-08T17:34:00.012+03:00

Just one of the most famous and influential albums ever recorded.

Beatles-Sgt. Pepper's Lonely Hearts Club Band @320
1. Sgt. Pepper's Lonely Hearts Club Band
2. With a Little Help from My Friends
3. Lucy in the Sky With Diamonds
4. Getting Better
5. Fixing a Hole
6. She's Leaving Home
7. Being for the Benefit of Mr. Kite!
8. Within You Without You
9. When I'm Sixty-Four
10.Lovely Rita
11.Good Morning Good Morning
12.Sgt. Pepper's Lonely Hearts Club Band (Reprise)
13.Day in the Life

Here: sharebee.com/d8556fef (Uploaded By Jimmy_B)

Beatles-Revolver

2009-04-04T20:25:00.012+03:00

Revolver is the seventh album by The Beatles, released on 5 August 1966

Beatles-Revolver @320
1) Taxman
2) Eleanor Rigby
3) I'm Only Sleeping
4) Love You Too
5) Here There And Everywhere
6) Yellow Submarine
7) She Said She Said
8) Good Day Sunshine
9) And Your Bird Can Sing
10)For No One
11)Doctor Robert
12)I Want To Tell You
13)Got To Get You Into My Life
14)Tomorrow Never Knows

Here: mirrorcreator.com/files/YAHXNAMD/B-R.rar_mirrors

Blind Faith-Blind Faith

2009-04-01T23:36:00.010+03:00

Info By Wiki:
Blind Faith is the self-titled album by the British supergroup Blind Faith, which consisted of Eric Clapton (The Yardbirds, Cream), Ginger Baker (Graham Bond Organisation, Cream), Steve Winwood (Spencer Davis Group, Traffic) and Ric Grech (Family).
There was an intense buzz about the band and its debut album Blind Faith, which on release topped Billboard's Pop Albums chart in America (as it did the UK and Canadian charts) and peaked at #40 on the Black Albums chart, an impressive feat for a British rock quartet. In addition, Rolling Stone published three reviews of the album in their September 6, 1969 issue, which were written by Ed Leimbacher, Lester Bangs, and John Morthland.
They began to work out songs early in 1969, and in February and March the group was in London at Morgan Studios, preparing for the beginnings of basic tracks for their album, although the first few almost finished songs didn't show up until they were at Olympic Studios in April and May under the direction of producer Jimmy Miller. The music community was already aware of the linkup, despite Clapton's claim that he was cutting an album of his own on which Winwood would play. The rock press wasn't buying any of it, knowing that Baker was involved as well, and then the promoters and record companies got involved, pushing those concerned for an album and a tour.
The recording of their album was interrupted by such a tour of Scandinavia, then a U.S. tour from July 11 (Newport) to August 24 (Hawaii), supported by Free and Delaney & Bonnie and Friends. Although a chart topper the LP was recorded hurriedly and side two consisted of just two songs, one of them a 15-minute jam entitled "Do What You Like." Nevertheless the band was able to produce two classic hits, Winwood's "Can't Find My Way Home" and Clapton's "Presence Of The Lord."
The release of the album provoked controversy because the cover featured a topless pubescent girl, holding in her hands a sculpture of an airplane, which some perceived as phallic.The U.S. record company issued it with an alternative cover which showed a photograph of the band on the front.

The cover art was created by photographer Bob Seidemann, a personal friend and former flatmate of Clapton's who is primarily known for his photos of Janis Joplin and the Grateful Dead
Seidemann wrote that he approached a girl reported to be 14 years old on the London Tube about modeling for the cover, and eventually met with her parents, but that she proved too old for the effect he wanted. Instead, the model he used was her younger sister Mariora Goschen, who was reported to be 11 years old.Mariora initially requested a horse as a fee but was instead paid £40.
Bizarre rumors both surfaced and were fueled by the controversy, including that the girl was Baker's daughter or was a groupie kept as a slave by the band.
The image, titled "Blind Faith" by Seidemann, became the inspiration for the name of the band itself, which had been unnamed when the artwork was commissioned.
According to Seidemann, "It was Eric who elected to not print the name of the band on the cover. This had never been done before. The name was printed on the wrapper, when the wrapper came off, so did the type." In fact, this had been done previously for The Rolling Stones' 1964 debut album, Traffic's self-titled 1968 album, and The Beatles' albums Rubber Soul (1965) and Revolver (1966).

Blind Faith-Blind Faith @320
1 Had To Cry Today
2 Can't Find My Way Home
3 Well All Right
4 Presence Of The Lord
5 Sea Of Joy
6 Do What You Like
7 Exchange And Mart
8 Spending All My Days

Here:
part1: sharebee.com/b0b31a56
part2: sharebee.com/e8cc0d23

Blind Faith-Can't Find My Way Home(Live Hyde Park?)

Blind Faith-Had To Cry Today(Live)

Ringo Starr-Blast From Your Past

2009-03-26T21:14:00.010+02:00

Info By Wiki:
Blast From Your Past is a singles compilation album by Ringo Starr, released on Apple Records in 1975. It is both Starr's first compilation LP and his final release under his contract with EMI, the last album to be released on The Beatles' Apple label until it was revived in the 1990s.In 1976, Starr would sign with Atlantic Records in the US and Polydor Records for the rest of the world, with the hopes of continuing his successful career.

The album compiles eight singles, one b-side, and one album track, released between 1970 and 1975. All eight charted on the Billboard Hot 100, with all but "Beaucoups of Blues" making the top ten. Both "Photograph" and "You're Sixteen" topped the chart, while five of the singles charted in the United Kingdom. "Early 1970" was the flipside to "It Don't Come Easy," and "I'm the Greatest" was taken from the album "Ringo". "Oh My My" and "You're Sixteen" were taken from the Ringo album as well, and "No No Song" and "Only You (And You Alone)" was taken from the LP Goodnight Vienna; all other singles were released ahead of respective albums or as stand-alone issues.

Ringo Starr-Blast from Your Past @320
1. You're Sixteen
2. No No Song
3. It Don't Come Easy
4. Photograph
5. Back off Boogaloo
6. Only You
7. Beaucoups of Blues
8. Oh, My My
9. Early 1970
10.I'm the Greatest

Here: sharebee.com/e03ff4aa

Ringo Starr-It Don't Come Easy

Ringo Starr - It Don't Come Easy (1971)
Uploaded by jack_helltoy

Pesky Gee-Exclamation Mark

2009-03-26T01:14:00.012+02:00

Info By Progarchives
Leicester septet Pesky Gee has an interesting history significant to prog that reaches back to 1966 when they started as a 'soul' band playing the club circuit. By 1969 when they released their one and only album 'Exclamation Mark' on Pye Records (intended to simply be '!' but for a record company mix-up), they had become what could be described as progressive rhythm 'n blues with a heavy sound in Jess "Zoot" Taylor's prominent Hammond organ and the scratchy guitar of Jim Gannon(replaced by Chris Dredge in the spring of '69). Also on board was Clive Jones with his sax and flute. Imitating Joplin and her Holding Co. and featuring the moody crooning of Kay Garret, the band was a quite competent ensemble that jammed as well as they covered others' material but with a distinct prog and jazz-rock inclination. The group broke-up in September 1969 and by 1970, had transformed into Black Widow with fewer members and a completely re-hauled format, and debuted 'Sacrifice(Check 07/12/08 Post)' that year.

Line-up
- Jim Gannon / guitar
- Jess Taylor / organ
- Kay Garret / lead vocals
- Clive Jones / saxophone
- Bob Bond / bass
- Clive Box / drums and percussion
- Kip Trevor / vocals

Pesky Gee-Exclamation Mark @320
1. Another Country (7:37)
2. Pigs Foots (4:39)
3. Season of the Witch (8:22)
4. A Place of Heartbreak (3:00)
5. Where is My Mind (3:00)
6. Piece of My Heart (2:50)
7. Dharma For One (4:02)
8. Peace of Mind (2:19)
9. Born To Be Wild (4:20)

Here: sharebee.com/38cf262e

Keith Emerson-Mater Tenebrarum (From Dario Argento's 1980 Film Inferno)

2009-03-22T16:23:00.001+02:00

Atomic Rooster-Atomic Rooster (Re-Up)

2009-03-22T16:15:00.011+02:00

Info By Wiki:

Atomic Rooster formed in summer 1969 when the Crazy World of Arthur Brown disbanded on tour in the US,and keyboardist Vincent Crane and drummer Carl Palmer returned to England to form Atomic Rooster with bassist/vocalist Nick Graham.By 1970,they would release their self-titled debut album Atomic Rooster. While this happened,Vincent Crane had hired John Du Cann(At the time using his name without the 'Du') of Andromeda ,on guitar. With him they would release the single Friday the Thirteenth.However,soon after John joined, Nick departed leaving Rooster without a bassist or vocalist. This was no problem for the Rooster, as Crane would cover bass lines with a combination of left hand and foot-pedals. John emphasised on the lower range of his guitar,and take over vocal parts.

The band resumed gigging until the end of June 70 when Carl announced his departure to Emerson, Lake & Palmer. Through July,Ric Parnell would fill the drum kit,and in August,the band would recruit Paul Hammond on drums,and begin working on their second LP.They would release Death Walks Behind You in September 1970,and from it the single "Tomorrow Night" was released, eventually peaking at Number 12 in the charts in January 1971. The band would continue touring and in June,they would recruit Pete French on vocals for their next LP, In Hearing of Atomic Rooster, released in July 1971. Prior to this a third single, Devil's Answer, was released, reaching No.4 in the UK, in June 71. During the recording of In Hearing Of, it became clear that the band were yet again moving in a different musical direction, away from the harder and heavier-edged Death Walks Behind You, and by August both John and Paul had left to form Hard Stuff.Soon after, Vincent, along with vocalist Pete French recruited drummer, Ric Parnell(who is the son of orchestra leader Jack Parnell, and composed material on the last album, plus came up with the piano riff on "Tomorrow Night") and Steve Bolton on guitar.This line-up would tour and play some choice places,but by the end of the year,vocalist Pete French left Atomic Rooster,and joined Cactus.French was replaced by experienced R&B singer Chris Farlowe from Colosseum. They would release Made in England in 1972,with the single Stand By Me.By now,the band was moving in a more funk/soul direction.In late 1972,guitarist Steve Bolton left the group.Bolton would be replaced by a friend of Vincent Crane's,John Goodsall,under the name John Mandala. This line up toured and recorded a fifth LP, Nice N Greasy, in 1973. A single from the LP was also released, Save Me, a reworking of Friday 13th.This proved to be their last album of the 1970s.By 1974,this line-up came to an end,and any outstanding dates were completed by Vincent Crane and members of the band Sam Apple Pie.In February 1975,Atomic Rooster did one more show,a benefit gig for the RSPCA,before Crane called time on the band.

(1980–1989) Latter Years
In 1979, John Du Cann(by now using his full name) released a solo album with the single, Don't be A Dummy.This gave Vincent Crane the idea to reform the Rooster with John. They would get together with session drummer Preston Heyman ,and release another self-titled album, Atomic Rooster in 1980. The singles here would be Do You Know Who's Looking for You? in June 1980.However Preston's prior session and touring commitments caught up with him and by the time of the gig at the Marquee, 23rd October 1980 Paul Hammond was once again behind the drum kit.Touring continued until EMI pulled the plug on the band.Fortunately Polydor picked the band up for two singles in 1981, Play it Again(September 1981) and End of the Day(February 1982).During these sessions reworkings of Tomarrow Night and Devils Answer were recorded (John McCoy adding bass).However,more record label problems struck,resulting in the departure of John Du Cann,prior to a sixth LP,Headline News,in late 1982.The guitar parts were added by David Gilmour of Pink Floyd,John Mizarolli and Bernie Torme.Tour dates in Italy and Germany were undertaken with Bernie on guitar,and the UK dates were with John Mizarolli.Crane took over on vocals,not only on the LP,but even the live work. Headline News was released June 1983,following the single Land of Freedom,in May,1983.Not long after,Crane called time on Atomic Rooster once more,and in 1985,assisted Dexys Midnight Runners by playing piano on their LP,Don't Stand Me Down.Crane also recorded A Case For The Blues as part of Katmandu, a one-off project with Peter Green of Fleetwood Mac and Ray Dorset of Mungo Jerry.Vincent and John were talking about making the Rooster crow again into the 90's, but Vincent's poor health intervened and, sadly, Vincent passed away on Feb14th,1989. Paul Hammond also sadly passed away, an accidental death, in 1992. Of the band that recorded Death Walks Behind You, only John Du Cann remains with us. Du Cann recently licensed the release of the only existing tapes of Atomic Rooster that featured Crane, Palmer and himself: some BBC Radio 1 sessions recorded by John Peel in 1970 and 1971

Atomic Rooster is their first album

Atomic Rooster-Atomic Rooster @320

1) Friday The Thirteenth

2) And So To Bed
3) Broken Wings
4) Before Tomorrow
5) Banstead
6) S. L. Y
7) Winter
8) Decline And Fall
9) Play The Game bonus track

Here: part1 sharebee.com/1122adc7
part2 sharebee.com/36319782

Atomic Rooster-Friday The 13th(Live German TV 1970)

Cain-A Pound of Flesh (Re-Up)

2009-03-15T18:05:00.006+02:00

Info By Kevin Anderson:

Cain was a hard rocking Twin Cities band that tried to take on the music industry in the mid-seventies. Their two small label albums were serious hard rock guitar extravaganzas, but with great fun original tunes, raucous lead vocals, and sweet backing vocals. Their influences ranged from the guitar of Deep Purple and Robin Trower, the majesty of Queen, and the vocal harmonies of Styx
Cain's roots went back a number of years. In 1969, the Twin Cities band The Bananas went through some personnel changes. Guitarist Lloyd Forsberg, bassist Dave Elmeer, and keyboardist Al Dworsky brought in Jiggs Lee on vocals and Mike Mlazgar on drums. Jiggs (from the Grasshoppers) and Mike (from Crow!) replaced Jim Offerman and Joe Soucheray. A name change was desired and Lloyd came up with "Cain."
Like many local bands, Cain performed at teen clubs and school dances. Eventually, they worked their way up to college shows and started to gain a "heavy" reputation outside of the Twin Cities. Along the way, Mike Mlazgar was replaced by Tom Osfar and Al Dworsky was replaced by Jerry Magee.
Of course, Cain started writing their own material. The popular ballad "Katy" was written by their next keyboardist, Chas Carlson.
Their tours took them to neighboring states with gigs in Chicago, Milwaukee, and Carbondale. They worked clubs with other Midwest bands like Styx, Kansas, and Cheap Trick. More personnel changes occurred before they went in to the studio to record their first album in 1975: Tom Osfar was replaced by Kevin DeRemer (from the Everett James Band) and keyboards were dropped from the line-up entirely.

Their first hard rocking album was titled "A Pound of Flesh" (a reference to Shakespeare's "The Merchant of Venice"). It's not known what the band thought of the cover image that ASI Records' marketing department created.
The album's guitar sound brings to mind Richie Blackmore; the main riff of the album's opener "Queen of the Night" is in the same vein as Deep Purple's "Burn." Lloyd's Stratocaster sound ventures into Robin-Trower-land on "Badside." The album features an ode to girlie magazines on "If the Right Don't Get You the Left One Will," a big power ballad with "Katy," and an epic rocker with "All My Life."
They supported the album with tours that took them as far as Texas.
In 1977, the second (and last) album in their ASI contract, "Stinger," was released. This album was just as hard rocking as the first, but the song writing really advanced. The Queen influences come out strong on "Welcome to the Dance" and the title track "Stinger" (which was a big live favorite when Jiggs broke out the burning book!). The album's Big Power Ballad was "The Minstrel Song."
A third album was only half completed in 1978 when disco and other pressures took its toll on the group. Dave and Jiggs left the group, while Lloyd and Kevin continued on as Cain for another year before calling it quits.

Where are they now? Today, Joe Soucheray is a broadcast professional (KSTP am 1500), author, and columnist (St Paul Pioneer Press). Jiggs works as a commercial sound system designer in the Twin Cities and recently returned to music performance himself with a 2003 solo album. Dave is an anesthesiologist in Minneapolis. Kevin married Melissa Manchester and so has continued in the music profession.

Cain-A Pound of Flesh @320

1. Queen of the Night
2. Katy
3. South Side Queen
4. Badside
5. Born of the Wind
6. Heed the Call
7. If the Right Don't Get You the Left One Will
8. All My Life

Here: sharebee.com/19fbd553

Cream-Live Cream

2009-03-11T17:27:00.008+02:00

Info By Wiki:
Live Cream is a live compilation album by Cream released in 1970. This album is comprised of four live tracks recorded in 1968 and one studio track "Lawdy Mama" from 1967. The instrumental track for "Lawdy Mama" is the same chord progression as heard on "Strange Brew" with a different vocal and guitar solo by Eric Clapton

Cream-Live Cream @320

1 N.S.U. –10:15
Recorded March 10 1968, Winterland, San Francisco.
2Sleepy Time Time –6:52
Recorded March 9 1968, Winterland, San Francisco.
3 Sweet Wine –15:16
Recorded March 10 1968, Winterland, San Francisco.
4 Rollin' and Tumblin' –6:42
Recorded March 7 1968, The Fillmore, San Francisco.
5 Lawdy Mama –2:46
Studio Recording from Disraeli Gears sessions, 1967

Here: sharebee.com/e0d844c6

Jimi Hendrix-Live At The Isle Of Wight Festival (Re-Up)

2009-03-06T16:49:00.004+02:00

Isle Of Wight Festival was the last music gathering of the 60's.
It marked the return of Jimi Hendrix in England after eighteen months.
Three weeks later Hendrix died in London.

Jimi Hendrix-Live at the isle of Wight Festival @320

1. Intro, God Save The Queen
2. Message To Love
3. Voodoo Child
4. Lover Man
5. Machine Gun
6. Dolly Dagger
7. Red House
8. In From the Storm
9. New Rising Sun

Here: part1 www.uploadjockey.com/download/715107/JH-LATIOWF.part1.rar
part2 www.fileducky.com/OJzbVgEB/

Jimi Hendrix-God Save the Queen(Isle Of Wight)

Focus-Ship Of Memories (Re-Up)

2009-03-05T19:03:00.008+02:00

Focus-Ship Of Memories @320

01 P's march
02 Can't believe my eyes
03 Focus V
04 Out of Vesuvius
05 Glider
06 Red sky at night
07 Spoke the Lord Creator
08 Crackers
09 Ship of memories
10. Hocus Pocus

Here: sharebee.com/ab66eec1

Ship Of Memories

High Tide-Sea Shanties (Re-Up)

2009-03-02T22:48:00.011+02:00

Info By Wiki:

High Tide was a band formed in 1969 by Tony Hill (guitar, keyboards, and vocals), Simon House (violin and keyboards), Pete Pavli (bass) and Roger Hadden (drums). The trademark of their first album Sea Shanties was the constant battle between the electric guitar of Tony Hill and the electric violin of Simon House. There is hardly a quiet moment on Sea Shanties, the heaviest tracks being "Futilist's Lament" and the instrumental "Death Warmed Up". Stylistically it is a mix of hard rock, psychedelic, blues, folk, and jazz-rock, and is sometimes even cited as the first progressive metal album.

The second, self-titled, album is a little less heavy and introduces some keyboards, played by Hill and House; the folk and jazz-rock influences are more noticeable on this album. Featuring just three tracks - Blankman Cries Again, The Joke and Saneonymous - it can be seen as a concept of sorts, the theme being the slow slide into pychosis. Indeed, Roger Hadden was later committed for just that reason.

High Tide also played as backing band on Denny Gerrard's album Sinister Morning (1970). A third album, Precious Cargo, which was more a psychedelic album without any hard rock influences, was recorded in 1970, but the band split up, and it was not published until 1989, when Hill and House reformed High Tide as a 2-man band with the use of drum computers and produced Interesting Times, in the wake of which "Precious Cargo" was finally released.

Two other albums with previously unreleased material, The Flood and A Fierce Nature, followed in 1990. Simon House left, and Pete Pavli joined again. Together with some guest musicians including Dave Tomlin (violin), Drachen Theaker (drums) and Sushi Krishnamurti (vocals), they recorded Ancient Gates, which had some Indian influences. Another album of previously unreleased material, A Reason of Success, was released in 1992.

More recently, Tony Hill has recorded with Nick Saloman of Bevis Frond and has also formed his own three-piece called Tony Hill's Fiction.

Tony Hill's Fiction were initially formed after the release of Tony Hill's solo album/CD 'Inexactness' which was released on Nick Saloman and Ade Shaws' Woronzow label 2006. Fronted by Tony Hill (Guitar/Vox) with D E Holt (Bass) and Syd Farrell (Drums) the band released one unofficial CD from their website ('Dna, The Brain, The Universe').

High Tide-Sea Shanties @320

1. Futilist's Lament
2. Death Warmed Up
3. Pushed But Not Forgotten
4. Walking Down Their Outlook
5. Missing Out
6. Nowhere
7. Great Universal Protection Racket
8. Dilemma
9. Death Warmed Up
10. Pushed But Not Forgotten
11. Time Gauges

7-11 : Bonus Tracks

Here: Part1: sharebee.com/4db9667f
Part2:sharebee.com/60663225

Focus-At The Rainbow (Re-up)

2009-03-02T19:04:00.009+02:00

1 Focus III
2Answers? Questions! Questions? Answers!
3Focus II
4Eruption
Orfeus
Answer
Orfeus
Answer
Pupilla
Tommy
Pupilla
5Hocus Pocus
6Sylvia
7Hocus Pocus (Reprise)

Here: part1:www.fileducky.com/SrglLRpK/
part2:sharebee.com/3feb85b7

Focus-Hocus Pocus (Live At The Rainbow)

Focus-Sylvia(Live At The Rainbow)

Yardbirds-Roger The Engineer (Re-Up)

2009-02-26T19:47:00.005+02:00

Info By Wiki:

Roger the Engineer (original title: Yardbirds, US, German, and French title: Over Under Sideways Down) is an album by the English blues rock band The Yardbirds, released in 1966. It was produced by bassist Paul Samwell-Smith and Simon Napier-Bell. It was the only Yardbirds album with all originally-written material. Although the record was officially titled The Yardbirds, it has since been referred to, first colloquially, then semi-officially, as Roger the Engineer, a title stemming from the drawing on its front cover, a cartoon of the record's audio engineer Roger Cameron by band member Chris Dreja. (It should be emphasised that this is one in a long and distinguished line of albums that have acquired a "rename" following a mistake, usually made by fans and / or reviewers - for example, The Beatles never made "The White Album", nor Jackson Browne "Saturate Before Using"; in all these cases, the proper album title is eponymous.) Due to the influence of Jeff Beck's experimentation with guitar distortion, the album is considered a precursor to heavy metal.

The original American versions of this album (issued with a completely different album cover and entitled "Over Under Sideways Down") omitted the songs "The Nazz Are Blue" and "Rack My Mind" and are mixed differently to the British editions. Regardless, record collectors have sought out both the mono (LN 24210) and stereo (BN 26210) versions since several tracks are featured with slight differences in the mixes. Epic's 1983 reissue (simply entitled The Yardbirds) featured the original UK album cover, the two missing tracks, duplication of the British mixing, and two additional tracks, the 1966 single "Happenings Ten Years Time Ago" b/w "Psycho Daisies", both featuring Jeff Beck and Jimmy Page.

In 2003, the album was ranked number 349 on Rolling Stone magazine's list of the 500 greatest albums of all time

Yardbirds-Roger The Engineer @320
1Lost Woman
2Over, Under, Sideways, Down
3The Nazz Are Blue
4I Can't Make Your Way
5Rack My Mind
6Farewell
7Happenings Ten Years Time Ago
8Psycho Daisies
9Hot House of Omagararshid
10Jeff's Boogie
11He's Always There
12Turn Into Earth
13What Do You Want
14Ever Since the World Began
15Mr Zero
16Knowing

Here: sharebee.com/31d9fc1e

Happenings Ten Years Time Ago(Live 1967)

Los Jaivas-Alturas de Machu Picchu

2009-02-23T20:41:00.014+02:00

Info Found At progressive.homestead.com
In Chile 1963 the three brothers Parra (Claudius, Gabriel and Eduardo) started a group with some friends (Eduardo "Gato/Cat" Alquinta and Mario Mutis ) called High Bass. (They took their name from their guitar amplifier (it had two knobs : 'high' and 'bass'). They gigged with a kind of tropical mix in (discotheques of) their native region of Vina del Mar and periodically in Santiago, the capitol of Chili. This happened in a time a 'new Chilean wave' came to life to express pop music under influence of rock'n roll, twist, ballads and other forms with original compositions. On the other hand there arose a neo-folk movement with simpler instrumentation and an influence from jazzy expressions stimulated by the national record industry to give this genre equally concern. Some years after that the 'Nueva Canción Chilena" ("the new Chilean song") with folkloristic elements combined with social concerns in the Andes region was another influence that led rise a different kind of folk music. One of the early groups, together with High Bass were "Los Masters" that later led to the birth of Congreso. Another rise of popularity was stimulated by the interest in The Beatles. High Bass wanted to follow its own direction and spirit adapting all kinds of influences to transform them in their own way. Also the University Reformation of '68 made everybody aware of much more what was happening everywhere, also musically and artistically it gave the openness for wider explorations. End '69 Eduardo Parra wanted to get jazz in form of improvisation and fusion techniques into the mix, but without having the right instruments they continued to adapt other elements (Caribbean,..) like also some rock flavour from the time of the Beatles, very soon becoming the unique progressive blend they stand for. Into this new spirit of grapping the new elements they changed their name (in some way they "chileanized" their name into Los Jaivas (with a transformation of their name from a "jaiba" into "jaivas", meaning "little crabs" now), deeply involved in Andean roots but also with an openness to the fitting in the whole world with the help of the Western elements. Therefore they used some electronic instruments as well as old folk instruments. Also the term "Inca-Rock" fitted with their music. Gabriel's passion remained the trumpet and the secret sounds of whistle instruments. Eduardo's interest in poetry would also be one of the underlying influences in the group's creative process.

The newly named group released "El Volantin" privately. The music on this album was almost completely derived from improvisations, and can be considered as a performance of a "happening". It was pretty wild and free. From 20 hours of work only 40 minutes were used for publication. There were only 500 albums printed. It became not so widely known because it also did not fit to what radiostations usually played.

Discography:
El Volantín 1971
Todos juntos 1972
Palomita blanca (Movie soundtrack) 1973 (Released in 1995)
Sueños de América 1974
Los Jaivas (El indio) 1975
Canción Del Sur 1977
Mambo de Machaguay (Compilation) 1978
Alturas de Macchu Picchu (based on lyrics from The Heights of Macchu Picchu by Pablo Neruda) 1981
Aconcagua 1982
Obras de Violeta Parra 1984
Si tu no estás 1989
Hijos de la Tierra 1995

Los Jaivas-Alturas de Machu Picchu @320
Los Jaivas recorded and released Alturas de Macchu Picchu that year.They based all their lyrics from poet Pablo Neruda. In 1945, he wrote a poem about his stay at the famous ruins in Peru, Machu Picchu, called Alturas de Macchu Picchu (which he visted in 1943).
As of 1981, the band was residing in France, because Chile was under the notorious dictatorship of Augusto Pinochet (from 1973 to around the late '70s they were in Argentina

1. Del Aire Al Aire
2. Poderosa Muerte
3. Amor Americano
4. Aguila Sideral
5. Antigua America
6. Sube a Nacer Conmigo Hermano
7. Final

Here: sharebee.com/a056ca42

Dragonfly-Dragonfly

2009-02-19T19:16:00.009+02:00

Group Info for Legend (Later known as Dragonfly)was taken from techwesound

This band, also loosely later known as Dragonfly, was originally from Colorado, but bounced back and forth between there and L.A. to record and issue records. Members included Jack Duncan (bass), Barry Davis (drums, background vocals), Gerry Jimerfield (guitar, lead vocals), Randy Russ (guitar, background vocals) and Ernie McElwaine (keyboards).
The band's origins can be traced to El Paso, TX where in 1965 Duncan and Davis met each other and became fast friends while playing in a group called the Pawns. Getting word that the Pawns were going to be playing a gig in Farmington, NM, Coloradoans Jimerfield and McElwaine took a road trip down south to check them out and were very impressed. At 26, Jimerfield was a bit more seasoned and had already played the L.A. scene, appearing on the show 'Hullabaloo' as well as more recently fronting his own band called the Lords Of London back in Colorado. Citing his L.A. connections, Jimerfield soon convinced Duncan and Davis to quit the Pawns and relocate to Durango, CO where they could stay at his parents' motel and form a new ensemble. The band rehearsed there for a couple of months and soon decided they needed to add a second guitar player. Duncan and Davis suggested Russ, who they knew from their El Paso days. The group was completed when Russ agreed to move up to Durango and join up.
In early 1967, the band, now calling themselves the Lords Of London, moved to the Denver area where they played a lot of clubs and eventually became a frequent opening act at Chet Helms' Family Dog theatre. Getting restless in Colorado, they then bounced out to L.A. for a brief stint where they changed their name to the Jimerfield Legend, but soon moved back to good old Colorado in time for the 1967 Summer of Love.
By 1968, they had moved back to L.A., shortened their name to the Legend and signed with the local label Megaphone, releasing three 45s and a full length, self-titled LP. The album contains mostly pre-psychedelic covers, and according to Duncan, the instrumentation was mostly played by non-group session musicians. However, the second 45 released as the Legend, contains two excellent non-LP originals ('Portrait Of Youth' b/w 'Enjoy Yourself'), which were later significantly redone and appear again on the 'Dragonfly' LP. Unfortunately all of the records fell flat in sales and the band again moved back to Colorado, where they continued to remain a well received live act. At around this time, McElwaine left the group and was not replaced.
In 1969, the same executives who represented the Legend recordings, saw the band playing at their old haunt, the Denver Family Dog, and were now further amazed by their originality and musicianship. This time, the record execs promised to allow the band to cut an LP of original material, so they packed up again for L.A. and recorded what was to become the 'Dragonfly' LP at Amigo and I.D. Studios in North Hollywood. This album is absolutely amazing and includes several outstanding, harder psychedelic originals, most of which are played on TWOS and credited to the Dragonfly moniker. At the time of release, the record did get some modest airplay on L.A. radio, but unfortunately it didn't sell well and the group broke up soon after its release. Jimerfield has since passed away, but Duncan, Davis and Russ are still active musicians to this day.

Dragonfly-Dragonfly @320

1. Blue Monday
2. Enjoy Yourself
3. Hootchie Kootchie Man
4. I Feel It
5. Trombodo
6. Portrait of Youth
7. Crazy Woman
8. She Don't Care
9. Time Has Slipped Away
10. To Be Free
11. Darlin'
12. Miles Away

Here: sharebee.com/495fc50c

Kalevala-People No Name+Boogie Jungle

2009-02-18T18:24:00.007+02:00

Info By Eetu Pellonpää (Progarchives):

KALEVALA was formed in 1969 by Juha Salonen (bass), Remu Aaltonen (drums/vocals) and Albert Järvinen (guitar). Their first name was VIENAM, but they had to change it in order to get concerts. This first line-up played straightforward rock’n’roll, and they were a popular live act in Finland. There was no studio recordings from this line-up, but the Finnish broadcasting company recorded their performance from 1970 “Ruisrock” festival. After this the line-up changed. Remu founded HURRIGANES, which Albert also joined later.

Now KALEVALA’s musical direction was changed to more progressive direction. The new musicians on their second line-up were Markku Luukkanen on drums, Matti Kurkinen on Guitar and Harri Saksala doing singing. They recorded one album, “People No Names” (1972) which was released by Finnlevy. They had some guest musicians helping on doing it: pianist Olli Ahvenlahti, Raimo Wallen playing flute and on acoustic guitar Ile Kallio, who was playing on HURRIGANES during that time. The result was quite unique, you can form your own opinion of it by listening the sample mp3 presented on this page.

The band was very unstable, as they had again changes in their line-up. Now they had Zape “Limousine” Leppänen on vocals, who has worked with many respected Finnish artists. The band recorded an album “Boogie Jungle” (1975), which is again more basic rock music. They had Jim Pembroke doing their lyrics plus backing vocals, and Jukka Gustavson playing keyboards on one track. Shortly after this band faced a sudden catastrophy, as Matti Kurkinen got in to a fatal car accident. Their name was defined as KALEVALA ORCHESTRA for their next album ”Abraham’s Blue Refrain” (1977). After this they toured Europe with ANGE, but they faced financial problems, and the musicians disbanded KALEVALA went to different directions.

Some members of the band rejoined in studio 1995, but they couldn’t get a record deal. These new tracks are available on “Anthology” (2004), which has some live recordings and before unreleased material on it.

Kalevala-People No Name+Boogie Jungle @320

1. People No Names
2. Where I'm From
3. Waves
4. In The Net
5. My Friend
6. Lady With The Veil
7. Escape From The Storm
8. Tamed Indians
9. Mind The Fly Hunter
10. Attack At Nineteen Hundred
11. If We Found The Time
12. While The Fire's Warm
13. Boogie
14. Rockin Fish
15. Snow Bill
16. Capseller
17. Jungle

Here: pt1: sharebee.com/7b1f121d
pt2: sharebee.com/7574717e

Jack Bruce-Out Of The Storm

2009-02-17T15:09:00.015+02:00

This is Bruce's 4th solo album after Cream split.It was released in November 74.

Jack Bruce-Out Of The Storm @320
1. Peaces of Mind
2. Golden Days
3. Running Through Our Hands
4. Keep on Wondering
5. Keep It Down
6. Into the Storm
7. One
8. Timeslip
9. Peaces of Mind
10. Keep on Wondering
11. Keep It Down
12. Into the Storm
13. One

9-13 Previously unreleased bonus tracks(First Mixes)

Personnel: Jack Bruce: All vocals, bass, piano, clavinet, Fender piano, organ, harmonium and harmonica
Steve Hunter: Lead, rhythm and acoustic guitars
Jim Keltner: Drums (2-6)
Jim Gordon: Drums (1, 7-8)

Music by Jack Bruce. Song 2 was co-written with his first wife Janet Godfrey
Lyrics: Pete Brown

Here: pt1 www.megaupload.com/?d=50ZPSXZG
pt2 sharebee.com/3717ae34

Sfinx-Albumul Albastru

2009-02-14T18:51:00.008+02:00

Info By Progarchives
This is Sfinx's last album.It was released in 1984

Sfinx-Albumul Albastru(Blue Album) @320
1. An dupa an (Year after year)
2. Pe pamint pace (Peace on Earth)
3. Rostul vietii (The purpose of life)
4. Cinta cu mine (Sing with me)
5. Patru anotimpuri cu tine (Four seasons with you)
6. Zina serii (The evening fairy)
7. Intr-un cer violet (In a purple sky)
8. Carul Mare (Ursa Major)

Personnel:
- Mihai Cernea / drums, percussion, vocals
- Sorin Chifiruc / guitar, vocals
- Corneliu Ionescu / bass guitar
- Doru Apreotesei / keyboards, vocals
- Alexandru Grosu / organ
- Alexandru Călin / keyboards
- Mircea Marcovici / percussion

Here:sharebee.com/72bceb0c
Source: Torrent

Sfinx-Lume Albă

2009-02-11T15:58:00.011+02:00

For Group History See 18/10/08 Post

Lume albă (White world) is the first album by Sfinx

Sfinx-Lume Albă @320
1. Rasarit / Calatorul si copacul (Sunrise / The traveler and the tree)
2. Secolul vitezei (Speed Century)

3. Sinteze (Synthesis)
4. Magelan (Magellan)
5. Lume alba (White World)
6. Hora de baieti (Boy's Dance)
7. Norul (The could)
8. Muntele (The mountain)
9. Om bun (Kind man)

Line-up/Musicians
- Dan Andrei Aldea / guitar, vocals
- Corneliu Bibi Ionescu / bass guitar
- Mihai Cernea / drums, vocals
- Dan Bădulescu / guitar, vocals

Source:Torrent
Here: sharebee.com/447d1c3f

The Beach Boys-Pet Sounds (Re-up)

2009-02-09T17:51:00.006+02:00

Short history of the group by Wiki:

The Beach Boys is an American rock and roll band. Formed in 1961, the group gained popularity for its close vocal harmonies and lyrics reflecting a California youth culture of surfing, girls, and cars. Brian Wilson's growing creative ambitions later transformed them into a more artistically innovative group that earned critical praise and influenced many later musicians.

The group initially comprised singer-musician-composer Brian Wilson, his brothers, Carl and Dennis, their cousin Mike Love, and friend Al Jardine. This core quintet, along with early member David Marks and later bandmate Bruce Johnston, were inducted into the Rock and Roll Hall of Fame in 1988. The Beach Boys have often been called "America's Band"and Allmusic.com has stated that "the band's unerring ability... made them America's first, best rock band.The group has had thirty-six U.S. Top 40 hits (the most of any U.S. rock band) and fifty-six Hot 100 hits, including four number one singles.Rolling Stone magazine listed The Beach Boys as one of the 100 Greatest Artists of All Time.According to Billboard Magazine, in terms of singles and album sales, The Beach Boys are the No. 1 selling American band of all time.

Many changes in both musical styles and personnel have occurred during their career, notably because of Brian Wilson's mental illness and drug use (leading to his eventual withdrawal from the group) and the deaths of Dennis and Carl Wilson in 1983 and 1998, respectively. Extensive legal battles between members of the group have also played their part. After Carl Wilson's death, founding member Al Jardine was ousted by Mike Love. As of 2008, The Beach Boys continue to tour, with a lineup of Mike Love, Bruce Johnston and a backing band of new musicians.

Beach Boys-Pet Sounds @320

1 Wouldn't It Be Nice
2 You Still Believe In Me
3 That's Not Me
4 Don't Talk
5 I'm Waiting For The Day
6 Let's Go Away For Awhile
7 Sloop John B
8 God Only Knows
9 I Know There's An Answer
10 Here Today
11 I Just Wasn't Made For These Times
12 Pet Sounds
13 Caroline, No
14 Conclusion
15 Hang On To Your Ego

Here: sharebee.com/cae1c7bd

Truth And Janey-No Rest For The Wicked

2009-01-31T20:27:00.028+02:00

Taking their name from the seminal Jeff Beck Group album, vocalist/guitarist Billy Janey, vocalist/bassist Steven Bock, and drummer John Fillingsworth formed Truth in Cedar Rock, Iowa late 1969 .This line-up lasted one year then drummer Fillingsworth was replaced by Denis Bunce.The new line-up began penning original material, recorded a pair of singles in 1972/1973:In 1972 their first singles "Midnight Horsemen" "Under My Thumb" were released.In 1973 "Around and Around" and "Straight Eight Pontiac" .Then they evolved into Truth and Janey when informed that another band already held rights to the Truth moniker before them.
They did an amount of touring during 1973-75.
In 1976 their debut album "No Rest For The Wicked" was released.Only 1000 copies were pressed on the local Montross records.Shortly after the LP's release they disbanded when Denis Bunce left the group.Janey reformed the group with a completly new personnel in 1977.This new line-up released album "Just A Little Bit Of Magic" in 1978 and then disbanded.
Bassist Steven Bock joined Nowhere Fast
Denis Bunce left music industry.
Billy Janey followed a solo career

Truth And Janey-No Rest For The Wicked @320

1. Down the Road I Go
2. The Light
3. I'm Ready
4. Remember
5. No Rest for the Wicked
6. It's All Above Us
7. Ain't No Tellin'
8. My Mind
9. Midnight Horsemen
10. Around and Around
11. Under My Thumb
12. Straight Eight Pontiac

Tracks 9-12: Bonus (Released as singles in the early '70s)

Here:
pt1:sharebee.com/5a8515a6
pt2:sharebee.com/c64baf6d

Shadows Of Knight-Gloria

2009-01-25T20:26:00.010+02:00

Short History Of The Group By Wiki:

The Shadows of Knight are an American rock band from the Chicago suburbs, formed in the 1960s, who play a form of British blues mixed with influences from their native city (see Chicago blues). At the time they first started recording, the band's self-description was as follows: "The Stones, Animals and Yardbirds took the Chicago Blues and gave it an English interpretation. We've taken the English version of the Blues and re-added a Chicago touch.", to which noted rock critic Richie Unterberger commented: "The Shadows of Knight's self-description was fairly accurate. Although this mid-'60s garage band from the Windy City did not match the excellence of either their British or African-American idols, the teen energy of their recordings remains enjoyable,if not overwhelmingly original. The group took a tamer version of Them's classic Gloria into the American Top Ten in 1966, and also took a Yardbirdized version of Bo Diddley's 'Oh Yeah' into the Top 40 the same year

Shadows Of Knight-Gloria @320

1. Gloria
2. Light Bulb Blues
3. I Got My Mojo Working
4. Darkside
5. Boom Boom
6. Let It Rock
7. Oh Yeah
8. It Always Happens That Way
9. You Can't Judge a Book
10.Hoochie Coochie Man
11.I Just Want to Make Love to You
12.Oh Yeah (alternate version)
13.I Got My Mojo Working ((alternate version)
14. Someone Like Me (single release not on original album)

12,13,14:Bonus

Here: sharebee.com/3e8e3688

Amboy Dukes-Amboy Dukes(Re-up)

2009-01-24T19:08:00.013+02:00

Review by Joe Viglione:

The debut album by the Amboy Dukes should be high on collectors' lists. Fusing the psychedelia of the early Blues Magoos with Hendrix riffs and British pop, the band which launched the legend of Ted Nugent has surprises galore in these lost grooves. More experimental than Ambrose Slade's Ballzy � could you conceive of the Cat Scratch Fever guy performing on Peter Townshend's "It's Not True" and Joe Williams' classic "Baby Please Don't Go"? The latter tune was the flip side of the group Them's single "Gloria," but Ted Nugent and the boys totally twist it to their point-of-view, even tossing a complete Jimi Hendrix nick into the mix. The Amboy Dukes issued this as the single backed with their sitar-laden and heady "Psalms of Aftermath." "Baby Please Don't Go" is extraordinary, but isn't the hit single that "Journey to the Center of the Mind" would be from their follow-up LP titled after that radio-friendly gem. Producer Bob Shad's work with Vic Damone, Dinah Washington, and Sarah Vaughan wasn't what prepared him for the psychedelic hard rock of "Colors," a song with some of the experimentation Nugent would take further on the Survival of the Fittest, Live and Marriage on the Rocks/Rock Bottom albums further down the road. Those latter-day Dukes projects took themselves too seriously and got a bit too out there. The fun that is the Amboy Dukes take on the Ashford/Simpson/Armstead standard "Let's Go Get Stoned"; it's the kind of thing that could have stripped away the pretension of the post-Mainstream discs. The dancing piano runs and Ted Nugent confined to a pop-blues structure certainly got the benefit of Shad's record making experience, and it is a treat. Of the 11 tunes, seven are band originals. Taking on a faithful version of Cream's "I Feel Free" is interesting, and like Slade's first disc, they inject enough cover material to make the product interesting for those who had never heard of this group. "Down on Philips Escalator" could be early Syd Barrett Pink Floyd, and that's what makes this album so very inviting. As essential to the Amboy Dukes' catalog as the non-hit material on Psychedelic Lollipop was to the Blues Magoos, the first album from the Amboy Dukes is a real find and fun listening experience. "The Lovely Lady" almost sounds like the Velvet Underground meets the Small Faces by way of Peanut Butter Conspiracy. This is a far cry from Cat Scratch Fever, and that's why fans of psychedelia and '60s music should cherish this early diamond.

Amboy Dukes-Selftitled @320

1 Baby Please Don't Go
2 I Feel Free
3 Young Love
4 Psalms of Aftermath
5 Colors
6 Let's Got Get Stoned
7 Down on the Philips Escalator
8 The Lovely Lady
9 Night Time
10 It's Not True
11 Gimme Love
12 J.B Special

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Mike Pinera, Ted Nugent Jam

Ted Nugent guitar jam and interview 1971

Cream-Goodbye(Re-up)

2009-01-22T21:20:00.010+02:00

Review By George Starostin:

By that time the group was already officially disbanded, but this album cannot be qualified as an 'archive document': its release was pre-planned and they even wanted to repeat the format of Wheels, but there just wasn't enough studio material, so they agreed on a mini-scheme: one side live, one side studio. Even with that, the studio side is one of the shortest in history - just three middle length songs. (I haven't seen the LP, but I might suggest that the third live cut could have been put on the second side; otherwise, the time balance is really unjustified). Out of these, 'Badge' is unarguably the best, being co-written by Clapton with George Harrison (who appears on the credits as 'L'Angelo Misterioso' on rhythm guitar): however, it should be pointed out that it's by now much more associated with Clapton's solo career than with Cream: it's long since become a stage favourite, and one can hardly imagine a Clapton live show without him putting it on and having the entire audience chanting the stupid 'love is my badge, love is my badge' refrain which wasn't even present on the original recording: it was later 'ad libbed' by Eric in order to justify the song title. He forgot to edit the nonsensical psychedelic lyrics, though, so the contrast between the improved refrain and lines like 'I told you not to venture out in the park, I told you about the swans that they live in the park' is kinda strange. In any case, this studio version, with 'mystical' guitar overdubs and fabulous harmonies, is superior to any subsequent live ones - although I'd highly recommend the one off Rainbow Concert, where Pete Townshend fabulously 'deconstructs' the rhythm part in his own unique way.
The other two are downers. Jack contributes the childish electric piano disaster 'Doing That Scrapyard Thing' (what thing exactly, Jack?) that hardly measures up even to his solo records which I'm not a terrible fan of: it manages to be somewhat catchy, but at the expense of good taste. The goofball vocal intonations on the third line of each verse make me sick, and he even makes Eric's guitarwork to seem clumsy and obnoxious. As for Ginger's 'What A Bringdown', it really builds on the legacy of 'Pressed Rat And Warthog' which is not a compliment. Then again, on a general level it's still better; there are some fast parts, there's a strange disturbing atmosphere all over the place, there's some catchiness, and it does feature some nice thunderstormy guitarwork near the end, when Eric picks up the wah wah, twists it, distorts it and brews up a real tempest. But only for a few moments.
Plus, the re-issue of the album is somewhat improved since it has 'Anyone For Tennis' - a flop single from 1968 (it was earlier issued at the tail end of some Wheels Of Fire pressings). It's a very nice psycho ditty that came from Eric's hand. He himself hated it, but I find it silly and charming, even though it really doesn't belong to this record. But imagining it as some kind of a 'swan song' for one of the greatest psychedelic bands in existence is pretty easy, and I suppose we should just close our eyes on the chronological misplacing. 'Anyone for tennis, wouldn't that be nice?'
Anyway, amateurs are nevertheless recommended to stick away from this record and let the diehard fans come in and grab it for side A - three more live cuts which add little to the Wheels Of Fire legacy but are at least different. The nine-minute 'I'm So Glad' is rambling but features some great speedy Clapton solos - some of the fastest, in fact, he's ever layed down on record. The slightly shortier 'Politician' features some more great Clapton vibrato solos, some of the most vibrating he's ever layed down on record. And the five-minute 'Sitting On Top Of The World' features... guess what. Actually, the solos on the last one surpass even the studio version, making it probably the second most important live Cream song you have to own after 'Crossroads'. My real complaint here is that the recording engineers should be shot! The sound on Wheels Of Fire was loud, bright and comprehensible; here, everything sounds so muddy you hardly hear Clapton at all - especially on the most crucial moments of 'I'm So Glad'. Bruce, on the other hand, is mixed incredibly high - you'd think the audiences went over to the Fillmore East to hear his bass. Not that it's bad - it's amazing, but you sometimes wonder whether you are really listening to a nine-minute bass solo...
Overall, this is only recommendable for huge fans. I could give it a low seven, if it weren't so blatantly short: but any decent Cream hits collection includes 'Badge', and the amateur can safely sleep without any feelings of remorse that he hasn't heard the others. The studio stuff, good or bad, shows the band as nothing but three solo performers serving as backing groups to each other, just like the Beatles on the White Album; the days of brilliant idea-exchanging are long gone by. (By the way, it is rumoured that during the band's last tour, they hated each other so much they always arrived and departed in separate limousins). Unfortunately, quite unlike the Beatles, all three of the songwriters manage to really suck (do you really think Clapton's the real author for 'Badge'? Okay, so he is, for half of the song. That's no big compliment, either). The album cover is cool, though: as if these three were perfect friends

Cream-Goodbye @320

1) I'm So Glad
2) Politician
3) Sitting On Top Ofember The World
4) Badge
5) Doing That Scrapyard Thing
6) What A Bringdown
7) Anyone For Tennis

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Anyone For Tennis

I'm So Glad - Cream Farewell Concert November 1968

Omega-10000 Lepes

2009-01-22T18:40:00.011+02:00

History Of The Group By Wiki:

Omega is one of the most successful Hungarian rock bands. Formed in Budapest in September, 1962 by the winds player László Benkő on organ and János Kóbor as a singer and rhythm guitarist, they initially performed covers of British and American rock songs, frequently changing the lineup of members. In 1967 Tamás Mihály came on bass, Gábor Presser joined on keyboards and began writing original music for the band (in 1968 György Molnár became a lead guitarist),contributing to the release of three LPs before leaving the band with József Laux, a drummer from 1962, to form Locomotiv GT. These first albums were heavily influenced by the music of The Beatles, but they also looked forward to the band's future more progressive, space-rock style. After Presser and Laux's departure, the band found a new drummer (Ferenc Debreceni came from group Neoton) and appointed Benkő as the main keyboardsman, creating the current lineup, which has remained the same for over 30 years:

János Kóbor ("Mecky"), lead vocals
György Molnár ("Elefánt"), guitars
László Benkő ("Laci"), keyboards, vocals
Tamás Mihály ("Misi"), bass, vocals
Ferenc Debreceni ("Ciki"), drums
This lineup of Omega released ten more albums from 1972 to 1987. Many of these were released both in Hungarian and in English, in the hopes of generating wider interest in their music. However, the contents of the English albums often differed from their Hungarian counterparts, sometimes assembling tracks from several different albums and nearly always changing the song order. Following a few years of inactivity, the band reunited in 1994, with former member Gábor Presser joining them at concerts and contributing several tracks to 1995's Trans And Dance.

Omega has achieved great international success through releases in multiple languages, and tours in England and Germany in the late 1960s and throughout the 1970s. Their 1969 song "Gyöngyhajú lány" became an international hit, and was later covered by Griva on a 1987 self-titled album, with the title "Devojka biserne kose", and by Scorpions on a 1995 live release, with new lyrics and the title "White Dove" (the Hungarian title officially was translated as "Pearls In Her Hair").

Omega’s latest (16th) Hungarian studio release is 2006’s Égi jel ("Divine Sign"), and their latest English release is 1996’s Transcendent. In spring and summer of 2006, they performed their "EurOmega 2006" tour, including concerts in Hungary, Slovakia, Romania. Further performances are scheduled for October in Berlin and Basel.

10 000 lépés was the second album of the Hungarian band Omega. It was released in 1969

Omega-10000 Lepes @320
1. Petróleum lámpa
2. Gyöngyhajú Lány
3. Túzvihar
4. Udvari Bolond Kenyere
5. Kérgeskezü Favágók
6. Tékozló Fiúk
7. Tízezer Lépés
8. 1958-As Boogie-Woogie Klubban
9. Spanyolgitár Lengenda
10. Télbeszakadt Koncert
11. Halott Virágok
12. Nem Tilthatom Meg
13. Volt Egy Bohóc
14. Régi Csibészek
15. Naplemente

SOURCE:TORRENT

here:
pt1: sharebee.com/0bdabcaf
pt2: sharebee.com/09ee6322

Petróleum lámpa

Gyöngyhajú lány

Kinks-Kinks

2009-01-21T21:56:00.013+02:00

Short History Of The Group By Wiki:

The Kinks first gained prominence in 1964 with their third single, the hit "You Really Got Me", written by Ray Davies. The band's name came from their "kinky" dress sense of leather capes and boots worn on stage.The group's original line-up consisted of Ray Davies on lead vocals/rhythm guitar/keyboards, Dave Davies on lead guitar/vocals, Pete Quaife on backing vocals/bass guitar, and Mick Avory on drums and percussion. Following Quaife's departure in 1969, the band centred around the three remaining original members and frequently changed bassists and keyboardists. In 1984, friction between Dave Davies and Mick Avory resulted in the latter's departure, leaving only the brothers from the original line-up. However, the increasingly deteriorating relationship between the Davies brothers, with a string of unsuccessful records, led to the break-up of the band in 1996. In late 2008, Ray Davies confirmed that the band are reuniting and are gearing for a possible new album and tour.

The band's early hard-driving singles set a standard in the mid-1960s for rock and roll, while albums such as Face to Face, Something Else, The Kinks Are the Village Green Preservation Society, Arthur, Lola versus Powerman and the Moneygoround, Part One and Muswell Hillbillies are highly regarded by fans, critics, and peers, and are considered amongst the most influential recordings of the era. During the New Wave era, groups such as The Jam, The Knack, and The Pretenders covered Kinks songs and Britpop acts such as Blur, Oasis and Supergrass have cited them as a major influence. Many modern bands such as The Killers, The Libertines, and Franz Ferdinand acknowledge The Kinks and Ray Davies' songwriting skills. In the VH1 documentary HEAVY: the Story of Metal The Kinks are mentioned as one of the early bands that can be traced with a heavy metal sound.

Kinks is the self-titled debut album by the English rock band The Kinks, released in 1964. It was released with an altered track listing as You Really Got Me in the United States

Kinks-Kinks @320

1. Beautiful Delilah
2. So Mystifying
3. Just Can't Go To Sleep
4. Long Tall Shorty
5. I Took My Baby Home
6. I'm A Lover Not A Fighter
7. You Really Got Me
8. Cadillac
9. Bald Headed Woman
10. Revenge
11. Too Much Monkey Business
12. I've Been Driving On Bald Mountain
13. Stop Your Sobbing
14. Got Love If You Want It
15. Long Tall Sally
16. You Still Want Me
17. You Do Something To Me
18. It's Alright
19. All Day And All Of The Night
20. I Gotta Move
21. Louie, Louie
22. I Gotta Go Now
23. Things Are Getting Better
24. I've Got That Feeling
25. Too Much Monkey Business (Alternate)
26. I Don't Need You Anymore (Previously Unreleased)

Here:
pt1: sharebee.com/c4f893ae
pt2: sharebee.com/c60515d4

You Really Got Me

All Day And All Of The Night

Jimi Hendrix-Woke Up This Morning And Found Myself Dead( Re-up)

2009-01-20T19:10:00.013+02:00
Info By Wikipedia:

This Album was recorded by Hendrix himself at New York's Scene Club in March 1968. Contrary to urban legend, however, Johnny Winter was not included in the lineup. During track 3, Jim Morrison of the Doors joins the band onstage and remains onstage until Uranus Rock, when he leaves after twice knocking the microphone over.
This recording has been released under a number of titles including High, Live, 'N Dirty, Bleeding Heart, Sunshine of Your Love, Live at the Scene Club and Red House

Jimi Hendrix-Woke Up This Morning And Found Myself Dead @320
1 Red House
2 Woke up this Morning and Found Myself Dead
3 Bleeding Heart
4 Tomorrow Never Knows
5 Morrison's Lament
6 Uranus Rock
7 Outside Woman Blues
8 Sunshine of Your Love

Here:
pt1: sharebee.com/4a68d361
pt2: sharebee.com/0535740f

Jimi Hendrix - Hear My Train A Comin' (Acoustic)

Mott The Hoople-Mott

2009-01-17T20:53:00.008+02:00

Info By Wiki:

Mott is a 1973 album by British band Mott the Hoople. "All the Way from Memphis", an edited version of which was released as a single, received considerable airplay on U.S. radio and captured the band many overseas fans, as well as reaching the UK Top 10.

It was clear by the time Mott was released that Ian Hunter had become the dominant figure of the band. Aside from the lead track, the album includes introspective songs such as "Ballad of Mott The Hoople", which exposes Mott’s near break-up, and the peculiar "I Wish I Was Your Mother", featuring multi-tracked mandolin, in which Hunter sings of his wish to see his love as a child. Hard rockers are given their due with "Drivin’ Sister", "Violence" and "Honaloochie Boogie", the last-named being another UK single. A fine performance is delivered by Hunter in the almost religious "Hymn for the Dudes."

The album has featured different covers among the number of UK and U.S. releases, as well as remastered tracks on some editions. A US cover featured a photo of the four band members. In the UK the front cover featured a motif based on the bust of a Roman Emperor, and initial copies had a gatefold sleeve with the Emperor motif printed on a transparent plastic sheet. A remastered and expanded version was released by Sony's Columbia/Legacy imprint in the United States in 2006.

In 2003, the album was ranked number 366 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Mott the Hoople-Mott @320

1. All The Way From Memphis
2. Whizz Kid
3. Hymn For The Dudes
4. Honaloochie Boogie
5. Violence
6. Drivin' Sister
7. Ballad Of Mott The Hoople
8. I'm A Cadillac
9. I Wish I Was Your Mother
10. Rose
11. Honaloochie Boogie
12. Nightmare
13. Drivin' Sister

10-13 : Bonus tracks

Here:
pt1: sharebee.com/68220f0d
pt2: sharebee.com/143f700f

All The Way From Memphis (Live)

Argent-All Together Now

2009-01-14T23:12:00.011+02:00

Info By Erik Neuteboom (Progarchives)
Eighteen months after keyboard virtuoso Rod ARGENT left the famous sixties band The ZOMBIES, their single "Time Of The Season" from their last album "Odyssey & Oracle" topped the US charts and sold one million copies! There was a hugh demand to re-group The ZOMBIES but Rod ARGENT preferred to form his own band to make more progressive music. He recruted bass player John Rodford, drummer Bob Henritt and guitarist Russ Ballard and called the quartet ARGENT.

Under this name they released the eponymous debut album "Argent" in '70, the song "Liar" became a USA hit and was covered by THREE DOG NIGHT. With the next albums "Ring Of Hands" ('71) and "All Together Now" ('72) ARGENT gained more appreciation and the single "Hold Your Head Up" became a smash hit all over the world. The following album "In Deep" and single "God gave Rock 'N' To You" charted good but the increasing musical problems between Rod ARGENT and Russ Ballard finally escalated after the next album "Nexus" ('74): Russ wasn't pleased at all with Rod's synthesizer escapades, he liked the shorter and more catchy rocksongs. In '74 Russ departure was a fact but without hard feelings. Later that year ARGENT released the double-live record "Encore". Russ was replaced by multi-instrumentalist John Grimaldi and guitarist/vocalist John Verity. Rod was so excited about this new ARGENT that he refused an offer to join YES after WAKEMAN's departure! In '75 ARGENT made the album "Circus" but despite good critics the sales were poor. In '76 ARGENT released the disappointing LP "Counterpoints", ARGENT took his conclusions and broke up his band.

The early ARGENT made catchy heavy progressive rock with powerful organplay by Rod ARGENT. Their most progressive and acclaimed album is "Nexus": the Hammond organ has almost dispappeared in favor of the Fender Rhodes – and Hohner electric piano, the Mellotron, Grand piano and the famous Moog synthesizer. The album shows great sense of dynamics and splendid shifting moods: lush symphonic, slow and dreamy and fluent and powerful with strong electric guitar and tasteful keyboard play. In ’95 their was the release of a great live album titled "In Concert" (on the Windsong label) including most of their best songs, superior to the rather excellent live album "Encore" (’74).

All Together Now is a 1972 album and the third released by British rock band Argent

Argent-All Together Now @320

1. Hold Your Head Up
2. Keep on Rollin'
3. Tragedy
4. I Am the Dance of Ages
5. Be My Lover, Be My Friend
6. He's a Dynamo
7. Pure Love
8. Celebration
9. Kingdom
10. Closer to Heaven
11. Rejoice
12. God Gave Rock & Roll to You
13. Christmas for the Free
14. It's Only Money

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Argent-Hold Your Head Up (Live Midnight Special)

Deep Purple-30 The Very Best Of

2009-01-12T21:24:00.012+02:00

Deep Purple-30 The Very Best Of @320

1. Hush (4:29)
2. Black Night (3:29)
3. Speed King (4:28)
4. Child In Time (4:15)
5. Strange Kind Of Woman (3:54)
6. Fireball (3:26)
7. Demon's Eye (5:23)
8. Smoke On The Water (5:43)
9. Highway Star (6:33)
10. When A Blind Man Cries (3:32)
11. Never Before (3:30)
12. Woman From Tokyo (2:48)
13. Burn (4:33)
14. Stormbringer (4:08)
15. You Keep On Moving (4:30)
16. Perfect Strangers (4:16)
17. Ted The Mechanic (4:19)
18. Any Fule Kno That (4:28)

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part3: sharebee.com/e1002a62

Deep Purple-Bloack Night (Live)

Deep Purple-Highway Star (Live)

Deep Purple - Smoke On The Water (Live, 1973)

It's A Beautiful Day-It's A Beautiful Day

2009-01-09T18:13:00.019+02:00

Info By Wiki:
LaFlamme, a former soloist with the Utah Symphony Orchestra, had previously been in the band Orkustra, and unusually, played a five-string violin. The other members were his wife Linda (keyboards), Pattie Santos (vocals), Hal Wagenet (guitar), Mitchell Holman (bass) and Val Fuentes (drums). Although they were one of the earliest and most important San Francisco bands to emerge from the Summer of Love, It’s a Beautiful Day never quite achieved the success of their contemporaries such as The Grateful Dead and Santana, with whom they had connections. It’s A Beautiful Day created a unique blend of rock, jazz, folk, classical and world beat styles during the seven years the band was officially together.

The band's debut album, It's a Beautiful Day, released in 1969, featured the tracks "White Bird", "Hot Summer Day", "Time Is" and "Bombay Calling". The intro of the latter was used, at a slower tempo, by Deep Purple as the intro to "Child in Time" on its In Rock album.The vocals and violin playing of David LaFlamme plus Pattie Santos' singing attracted attention including FM radio play, and nationally, "White Bird" bubbled under Billboard's Hot 100 chart, peaking at #118.

By 1970 the original lineup of the band had changed somewhat; the LaFlammes had split up and Linda left the band, replaced by Fred Webb. The following album, Marrying Maiden, released in 1970, included memorable tracks and was also a chart hit. In that year, the group also performed at the Holland Pop Festival at the Kralingse Bos in Rotterdam, The Netherlands and at the UK Bath Festival.

The band continued on to record Choice Quality Stuff/Anytime in 1971 and the live album Live At Carnegie Hall in 1972, touring until 1974 when they split up. In 1976, LaFlamme's solo version of "White Bird" finally cracked the Hot 100 Chart, peaking at #89. Pattie Santos was killed in a car crash on December 14, 1989.

It's a Beautiful Day reunited in 1997 under the name "David LaFlamme Band" for a new recording label. The band still features founder David LaFlamme and original drummer Val Fuentes. Other band members are LaFlamme's current wife, Linda Baker LaFlamme (vocals), Toby Gray (basses), Gary Thomas (keyboards), Rob Espinosa (guitars), Michael Prichard (percussion). They completed a string of shows in 2005 and 2006 and toured with Jefferson Starship in 2007, and LaFlamme contributed to Jefferson Starship's 2008 release, Jefferson's Tree of Liberty.

A version of "White Bird" by violinist Vanessa-Mae was released in 2001 and reached number 66 in the UK Singles Chart.

It's a Beautiful Day is the self-titled debut album by San Francisco psychedelic band It's a Beautiful Day. This album's song "White Bird" was the band's biggest hit

It's A Beautiful Day-It's A Beautiful Day @320

1 White Bird
2 Hot Summer Day
3 Wasted Union Blues
4 Girl With No Eyes
5 Bombay Calling
6 Bulgaria
7 Time Is

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White Bird(Live)

Bombay Calling (Live 1978)

Quicksilver Messenger Service-Happy Trails

2009-01-05T19:13:00.013+02:00

Short history of the group by Wiki:

Quicksilver Messenger Service is an American psychedelic rock band, formed in 1965 in San Francisco and considered to be a part of the city's psychedelic scene. Essentially a jam band, Quicksilver Messenger Service gained wide popularity in the Bay Area and with psychedelic rock enthusiasts around the globe. Many of their albums ranked in the top 30 of the Billboard Pop charts. Though not ultimately as popular as contemporaries Jefferson Airplane and the Grateful Dead, the band was integral to the beginnings of their genre. With their jazz and classical influences, as well as a strong folk background, the band attempted to create a sound that was individual and innovative.Member Dino Valente pulled heavily from musical influences learned during the folk revival of his formative musical years. The style he developed from these sources is evident in Quicksilver Messenger Service's swung rhythms and twanging guitar sounds.After many years, the band has attempted to reform despite the deaths of band members. With the modest success of these ventures, many members have also attempted solo careers. Among these is Gary Duncan, former guitarist of Quicksilver Messenger Service. He has had a prolific musical career after parting ways with the group.

Happy Trails is the second album of the American band Quicksilver Messenger Service.
Happy Trails consists mainly of a performance cover of Bo Diddley's - aka Ellas McDaniel - "Who Do You Love?" spread out over 25 minutes. The song was divided into several parts ("What Do You Love," "How Do You Love," "Where Do You Love," etc.) in order to recoup a greater share of royalty payments.The live portions of the album were recorded at the Fillmore East and at the Fillmore West.
The second half of the album consists of an almost continuous suite. Beginning with another Bo Diddley song ("Mona"), guitarist Gary Duncan's "Maiden of the Cancer Moon" follows and the album closes with "Calvary", which manifested itself during a studio acid trip. As a coda, the band sing the theme tune from Roy Rogers' western television show, which lends its title to the album.
The record was released by Capitol records in stereo.

In 2003, the album was ranked number 189 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Quicksilver Messenger Service-Happy Trails @320

1 Who Do You Love - Part 1
2 When You Love
3 Where You Love
4 How You Love
5 Which Do You Love
6 Who Do You Love - Part 2
7 Mona
8 Maiden of the Cancer Moon
9 Calvary
10 Happy Trails

Here:
pt1: sharebee.com/6e1adba6
pt2: sharebee.com/6f947623

Mona(Live)

Pink Floyd-The First Singles(Reupload)

2008-12-31T02:07:00.007+02:00

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

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See Emily Play

En Remontant Le Mississippi (Part 2:A Way To Escape The Ghetto)

2008-12-30T17:56:00.019+02:00

The second part, A Way To Escape The Ghetto features B.B. King, Willie Dixon, Junior Wells and Buddy Guy, Arthur "Big Boy" Crudup, Mance Libscomb and Brownie McGhee & Sonny Terry

En Remontant Le Mississippi - Part 2: A Way To Escape The Ghetto

Here:

1 sharebee.com/ad91f1fd
2 sharebee.com/fdb12141
3 sharebee.com/9b074b09
4 sharebee.com/c4081ad6
5 sharebee.com/a462d25f
6 sharebee.com/87b8573b

Language: English
Subtitles: Greek

En Remontant Le Mississippi (Part 1:Les Blues Du Sud-Along the Old Man River)

2008-12-30T17:00:00.037+02:00

En Remontant Le Mississippi(English Title :Out of the Blacks Into the Blues) is a 1973 French documentary film directed by Robert Manthoulis(Ροβήρος Μανθούλης).It focuses on the story of the blues using interviews and live performances. It is released as 104 min film and also as 2 52min tv episodes.
This is the 2 episodes version:
The first episode is called Les Blues Du Sud(English Title:Along the Old Man River)and it features Bukka White, Furry Lewis, Roosevelt Sykes, Robert Pete Williams, and Brownie McGhee & Sonny Terry

Language:French
Subtitles:Greek

En Remontant Le Mississippi (Part 1:Les Blues Du Sud-Along the Old Man River)
1 sharebee.com/3cb37b38
2 sharebee.com/89352d30
3 sharebee.com/e7b40f9d
4 sharebee.com/3fb89761
5 sharebee.com/c9a61bb8
6 sharebee.com/20dcc544

King Crimson-Larks Tongues In Aspic

2008-12-27T17:55:00.006+02:00

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

here: sharebee.com/6dcc9bd0
Source: Torrent

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

2008-12-26T22:53:00.010+02:00
Review by DAVID FRICKE:

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

Here:
pt1: sharebee.com/c29352c8
pt2: sharebee.com/47071da2
ps: echoesof-the-past.blogspot.com

Country Joe-Save The Whales

2008-12-24T22:41:00.006+02:00
From Album Paradise With An Ocean View released on October 1976

sharebee.com/e09d56ce

Love-Love

2008-12-24T17:53:00.009+02:00

Info By Wiki:

1963-1966
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.

1966-1968
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.

1968-2006
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
Love 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)
BONUS TRACKS
29 Number 14
30 Signed D.C. (Alternate Version / Previously Unissued)

Here:

pt1: sharebee.com/3182dfeb
pt2: sharebee.com/6fa765a4
ps: echoesof-the-past.blogspot.com

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

2008-12-21T13:57:00.012+02:00

Source: Emule

Here: sharebee.com/6c2e4a7a

Amazing Blondel-England

2008-12-18T19:32:00.007+02:00

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

Here: sharebee.com/b1f89a97

ps: echoesof-the-past.blogspot.com

Traffic-Best Of

2008-12-17T21:21:00.006+02:00

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

pt1: sharebee.com/ac0acc78
pt2: sharebee.com/012dc4bf

ps: echoesof-the-past.blogspot.com

Black Widow-The Ultimate Sacrifice

2008-12-07T16:01:00.016+02:00

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

Personnel:

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)

Here:
pt1 rapidshare.com/files/171240226/BW-TUS.part1.rar.html
pt2 rapidshare.com/files/171238234/BW-TUS.part2.rar.html

Finch-Beyond Expression

2008-11-28T20:38:00.003+02:00

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

Line-up/Musicians
- 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)

pt1: sharebee.com/6f3d1989
pt2: sharebee.com/e6b4ab11

ps: echoesof-the-past.blogspot.com

Greenslade-Greenslade

2008-11-27T21:21:00.008+02:00

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

here: sharebee.com/a62eeb31
ps: echoesof-the-past.blogspot.com

Pussy-Pussy Plays

2008-11-26T18:05:00.007+02:00

Group Info Found on www.progressor.net
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
8 GEAB

Here : sharebee.com/83d7a9ba

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

2008-11-26T00:10:00.001+02:00

Blue Cheer - Outsideinside

2008-11-24T18:56:00.014+02:00

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

here: www.zshare.net/download/518058886d8cba2a/
ps: echoesof-the-past.blogspot.com

Mirror: www.zshare.net/download/518888543b59f32a/
No Password

Reuploads

2008-11-24T18:52:00.015+02:00
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

pt1: sharebee.com/96df2f37
pt2: sharebee.com/abe28f09

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 : sharebee.com/f7b0af4d
PS: echoesof-the-past.blogspot.com

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

pt1: sharebee.com/e4a8bc94
pt2: sharebee.com/01e4814a
ps: echoesof-the-past.blogspot.com

4)Beatles-Rubber Soul

a href="http://2.bp.blogspot.com/_lzyPkE2DjMM/SNyjl61AduI/AAAAAAAAAMI/1RncfmUw1ZI/s1600-h/Front.jpg">

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

here:sharebee.com/15ec804e
ps: echoesof-the-past.blogspot.com

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

here: www.zshare.net/download/501888128b1520e7/
ps: echoesof-the-past.blogspot.com

Paul McCartney & Wings-Band On The Run

2008-11-22T01:16:00.008+02:00

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).

Release
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: sharebee.com/a560dd62
pt2: sharebee.com/5035acff

ps: echoesof-the-past.blogspot.com

Paul McCartney-McCartney

2008-11-19T21:27:00.009+02:00

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
13Kreen-Akrore

here: sharebee.com/4b36fb98
ps: echoesof-the-past.blogspot.com

Beck, Bogert & Appice-Beck, Bogert & Appice

2008-11-13T21:22:00.007+02:00

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

sharebee.com/ede13d26

ps: echoesof-the-past.blogspot.com

Creedence Clearwater Revival-Best Of

2008-11-04T17:59:00.008+02:00

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

pt1: sharebee.com/3b35330a
pt2: sharebee.com/09178ff6

ps: echoesof-the-past.blogspot.com

Jefferson Airplane-Bless Its Pointed Little Head

2008-11-02T18:29:00.006+02:00

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

pt1: sharebee.com/b4263486
pt2: sharebee.com/89900c14

ps: echoesof-the-past.blogspot.com

The Moody Blues-The Very Best

2008-10-24T19:05:00.013+03:00

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

pt1:www.zshare.net/download/50350668235fe62e/
pt2:www.zshare.net/download/50351089578751d1/

ps: echoesof-the-past.blogspot.com

Popol Vuh(Germany)-In den Gärten Pharaos

2008-10-23T20:30:00.008+03:00

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

pt1: sharebee.com/01704080
pt2: sharebee.com/ade1e200

No password.Album was downloaded with torrent

Alamo-Alamo

2008-10-23T14:24:00.012+03:00

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

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

photo taken from philliprauls.com

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

here: www.zshare.net/download/502670097d2aab83/
ps: echoesof-the-past.blogspot.com

Yardbirds-Happenings (Repost)

2008-10-21T20:13:00.023+03:00

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: www.zshare.net/download/501479525484971f/
pt2:www.zshare.net/download/50144987f840fbf5/
Ps: echoesof-the-past.blogspot.com

Added Files In Rar Format: pt1: sharebee.com/1ab8b61b
pt2:sharebee.com/1db82a69
Ps: echoesof-the-past.blogspot.com

Tony Sheridan And The Beatles-Hamburg 1961

2008-10-20T21:10:00.009+03:00

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

here www.zshare.net/download/50099870cb472475/
ps: echoesof-the-past.blogspot.com

Sfinx-Zalmoxe

2008-10-18T19:34:00.014+03:00

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

pt1: sharebee.com/27e41f03
pt2: sharebee.com/8e85d7ee

ps: echoesof-the-past.blogspot.com

Uploads Lost

2008-10-18T19:31:00.003+03:00
I'm sorry but
it seems that most of the albums uploaded on Zshare are lost.
I don't know what caused this problem.

Epitaph-Epitaph

2008-10-18T01:27:00.015+03:00

Group Info Was Found In http://www.geocities.com/krautrockgroup/

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)

pt1: sharebee.com/c18c0985
pt2: sharebee.com/5222ff6c
ps: echoesof-the-past.blogspot.com

Bodkin-Bodkin

2008-10-17T19:07:00.007+03:00

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

here: sharebee.com/2f043c35

ps: echoesof-the-past.blogspot.com

Fleetwood Mac-Collection Gold

2008-10-13T21:13:00.010+03:00

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

pt1:www.zshare.net/download/204906425b5b69c3/
pt2:www.zshare.net/download/20487713f15aad6b/

ps: echoesof-the-past.blogspot.com