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Various Artists – Cosmarama: Fabulous 20 Top Prog : Psych Behemoths From The UK And Europe – Flac

March 1, 2013, 9:54 pm
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Mais uma compilação com fabulosos sons "perdidos" em gravações de 45 RPM (single), mas graças a Deus reunidos em coletâneas como essa, para o nosso deleite! Desfrutem!


Seems like only yesterday (probably because it was) that we explored some of the uncharted depths of British and European psychoprog on Blow Your Cool. Well, here we are with another voyage into that dazzling star system. Once again we’ve pulled in tracks from the UK and across Europe, and once again we shall attempt to thrill you with as yet unheard treasures from the patchouli-scented vaults of freaked musical excess.

Tasty psych/hardrock/protoglam songs compiled by the Bevis Frond. Salomon, aka the Bevis, is an older English gent & can therefore be fully forgiven for calling these various subgenres 'prog'.





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(Compilation) Looking Towards The Sky: Progressive, Psychedelic, and Folk Rock From The Ember Vaults [FLAC]

March 2, 2013, 1:31 pm
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Fala galera ... quem e' vivo sempre aparece ... fui ate o inferno e voltei.
Esse cd e' da minha colecao pessoal. Vi o ultimo post to Nelwizard e lembrei desse CD aqui. Uma uma colecao maravilhosa de raridades sortidas!
Praquem gosta the Folk-rock e psicodelia e' um prato cheio.
Vale a pena!
 (Descupe a falta de capinhas com resolucao decente, mas eu nao tenho scaner e nao existe na net)


The eccentric and eclectic view of progressive, psychedelic, and folk rock of the late ‘60s and early ‘70s is a real treat. But thanks to the reissue label, Fantastic Voyage, who are helping to revisit the indie label Ember Records, this is worth checking out to know about the obscure and the underground scene of the psychedelic movement that reached to a cult status. It’s like Treasure Island, but it’s hidden through the generosity of the bands you’ve never heard throughout this compilation, and it pulls together like a tightrope. Looking Towards The Sky: Progressive, Psychedelic, and Folk Rock from the Ember Vaults may be considered one of the volumes on undiscovered gems of the independent rock scene that are filled unheard bands and artists to come close to the essence of unheard music that will give you goosebumps and take you surprise in the new dimension.

Bands                                  Songs

19.30 Fly– Life And Times
2Dorians, The– Help For My Waiting
3Blonde On Blonde (2)– Heart Without A Home
4Blue Beard (2)– Losing You
5Rusty Harness– Goodbye
6Paddy Maguire– Doin' The Best I Can
7Knocker Jungle– I Don't Know Why
8Knocker Jungle– Reality
9Blonde On Blonde (2)– Sad Song For An Easy Lady
109.30 Fly– Mr 509
11Dorians, The– Good Love
12Davey Payne & The Medium Wave– Looking Towards The Sky
13Milt Matthews Inc.– Disaster Area
14Blonde On Blonde (2)– Circles
15Back Street Band– This Ain't The Road
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Mystic Number National Bank - same (1969, US, raw bluesyrockpsych, Probe vinyl rip, single flac + cue + splitter, DR13, artwork)

March 4, 2013, 11:44 pm
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 *** Reviewed by great fellow Adamus67 ***

Released in 1969 for Probe label, album American formation of elements blues and a pinch of psychedelic , jazz. A fun and very well produced album that you listen to with pleasure.

In spite of the psychedelic title, The Mystic Number National Band were one of Kansas City's contributions to late-1960s blues rock ... Formed in 1967, the band featured the talents of bassist Russ Booth, guitarists Dave Lorenz and Bob Sebbo, and singer/drummer Glenn Walters.

Very raw blues compared to most of the music that was popular at that time. This album has two dogs on it.."Umbrellas" and Big Boy". ...the rest is solid hard blues.
Their version of St. James Infirmary is one of the best. Other stand out cuts are Beautician Blues, Good Love and Blues So Bad. A true forgotten blues gem. 
Thank you so much Adam for that effort
gigic2255


This was a Kansas City-based quartet who were signed to ABC Records newly formed Probe subsidiary. Probe was supposed to concentrate on psychedelic acts, but Mystic Number National Bank only released one song for the label that could be termed psychedelic (the drowsy “Umbrellas”). Mystic Number National Bank was much more at home with electric blues. Unfortunately, this record is one more example of what’s on the outside (the clever fold-open, die-cut cover) being better than what’s on the inside.

The LP begins with an instrumental, and includes a second instrumental as track four. That’s not exactly a good way to convince people that it’s worth their time to listen. However, by the time we get to “It Will Break Your Heart”, the listener can be forgiven for wishing that this was an instrumental piece as well. Lead vocalist/drummer Glenn Walters’ powerful voice is ill-suited to ballads, both in terms of intonation and phrasing. The song indeed breaks your heart, for all the wrong reasons! By the time you’ve suffered through eight interminable minutes of “St. James Infirmary”, you’re wondering which ABC label executive was blackmailed for this group to get signed.

As if on hilariously ironic cue, the second side of the album begins with a ferocious blues shouter. “Beautician Blues” is two minutes of raw, hellacious energy that any band would kill to imitate. ABC, not being as foolish as we had previously surmised, wisely chose this track for the single. It stiffed on the charts, but at least it proved that somebody at the label was paying attention.

An enjoyable cover of Geoff Muldaur’s “Ginger Man”, the aforementioned “Umbrellas”, another ill-advised ballad (“Big Boy”), and a good, if somewhat ordinary original (“Blues So Bad”) round out the set. The group had talent, but it’s hard to believe that the album’s producer couldn’t come up with a better showcase for them than this. Not having the heart for struggling to come up with a follow-up album as good as this one, the group dissolved. Walters later joined the Hoodoo Rhythm Devils, and has also cut some recent solo discs.
(~redtelephone66)  ochsfan RYM



Tracks:
side one:
A1. Blues Jam
A2. Good Love
A3. It Will Break Your Heart
A4. AC/DC
A5. St. James Infirmary
side two:
B1. Beautician Blues
B2. Umbrellas
B3. Ginger Man
B4. Big Boy
B5. Blues So Bad


Mystic Number National Bank:
Russ Booth - Bass
Glenn Walters - Drums, Lead Vocals
Bob Sebbo - Lead Guitar
Dave Lorenz - Rhythm Guitar

Mystic Number National Bank - Blues So Bad/Beautician Blues 1969@by gledix


 [Rip and Scans by gigic2255]

Link:   213 mb/file

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Message: From Books And Dreams (1973) (2003 Remaster) [APE]

March 7, 2013, 7:39 pm
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Artist: Message
Album: From Books And Dreams
Genre: Heavy Psychedelic Rock, Heavy Progressive Rock, Hard Rock
Year: 1973
Country: Germany
Label/Catalog: Citystudio Media Production / CMP 607-2 (2003 Remaster)
Format: APE (image+cue+log)



PORTUGUÊS:
O Message foi criado em setembro de 1968 pelo baixista Horst Stachelhaus, mas apesar de ter nascido na Alemanha, a banda também tinha como integrantes o guitarrista Allan Murdoch e o multi-instrumentista Tom McGuigan, respectivamente naturais da Ilha de Wight e da Escócia. Murdoch e McGuigan já eram velhos amigos e tinham tocado juntos no The Waysiders, uma banda escocesa de rock'n roll que durou de 1962 a 1965. Murdoch, por sua vez, após o fim da banda, passou a morar na Inglaterra e entrou no MI5, que mais se mudaria para a Alemanha e viraria o Nektar. As duas bandas, além de amigas, também pertenciam ao mesmo selo: a Bacillus Records, a subsidiária dedicada à música progressiva da Bellaphon. Com um som diferente do que era feito pelo Nektar, o Message misturava o que havia de melhor no hard rock e progressivo britânico com a criatividade e a inovação do krautrock que resultava em uma atmosfera sombria e única.

'From Books And Dreams' foi o segundo álbum da banda e é um dos seus trabalhos mais consistentes e também talvez o mais pesado, provavelmente lembrando bandas que são consideradas pioneiras no heavy metal, muito pelo toque sombrio que é dado em várias partes. Surpreendentemente este álbum foi lançado aqui no Brasil - provavelmente o único lugar fora da Alemanha - pela Sábado Som em 1974, entre alguns outros álbuns da Bacillus e da Brain, e desnecessário dizer que é altamente disputado entre colecionadores.

Uma grande obra de mais outra banda que não recebeu o reconhecimento merecido e que deve ter escutado de cabo a rabo.


ENGLISH:
Message was formed in September 1968 by bassist Horst Stachelhaus, but in despite of being created in Germany, the band also featured as members the guitarrist Allan Murdoch and multi-instrumentist Tom McGuigan, respectively born in Isle of Wight and Scotland. Murdoch and McGuigan were already old friends and had played together on The Waysiders, a Scotish rock'n roll band which lasted from 1962 to 1965. Murdoch, by the way, after the band split, moved to England and joined MI5, which some time later moved to Germany and became Nektar. Both bands, besides sharing a friendship, also belonged to the very same label: Bacillus Records, Bellaphon's subsidiary dedicated to progressive music. Even if their sound was completely distinct to Nektar's one, Message mixed the best out of British hard and progressive rock with the creativity and innovation of krautrock resulting in an unique and shady atmosphere.

'From Books And Dreams' was their second album and is one of their most consistent works and also being probably their heaviest one, reminding pioneering bands in the heavy metal genre, much for the shady touch given in many parts. Surprisingly this album was released here in Brazil - probably the only place out of Germany - by Sábado Som in 1974, amongst a few other Bacillus and Brain releases, and needless to say it is highly sought after collectors.

Another great masterpiece produced by a band who didn't have a deserved recognizement and that must be carefully listened.



Tracklist:
01 Sleer (2:51)
02 Dreams And Nightmares (Dreams) (12:45)
03 Turn Over (4:02)
04 Sigh (8:07)
05 Dreams And Nightmares (Nighmares) (13:13)

Line-up:
Gunther Klinger - drums
Tom McGuigan - vocals, woodwinds, synthesizers, Mellotron
Allan Murdoch - guitar
Horst Stachelhaus - bass

Originally released as Bacillus Records BLPS 19159 in 1973



DOWNLOAD

Password: micose
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Mystic Tide - Solid Sound / Solid Ground (65-69, US, garagepsych, Distortions CDrip, single flac + cue + splitter, log, artwork)

March 9, 2013, 3:41 am
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Back in the early 80's there were 2 60's re-issue albums that just tore my head off and turned me straight around, those being "If I Stay Too Long" by The Creation and "Before The Dream Faded" by The Misunderstood. Well in the early 90's there were also the twin killers of "Love At Psychedelic Velocity" by The Human Expression and the record I'll be talking about here "Solid Sound...Solid Ground" by Woodbury, New York's Mystic Tide.

In reality The Mystic Tide was single vision of one Joe Docko. Joe was the mainman of The Mystic Tide and believe it or not he stills resides in Woodbury. I actually called up information in Woodbury and got his phone number. But so far I have been too chicken to ring him up. I mean you just don't make a cold call to Joe Docko, do you?

Anyway I was first introduced to the Mystic Tide in the early 80's via a compilation on EVA records that had 2 life changing songs by the Tide, I also got a great album also from Eva that paired the Mystic Tide with the great San Jose, California folk-rock group the E-Types. However back then little was known about the Mystic Tide, I used to wonder who the hell is Joe Docko and why is his face not a part of Mt. Rushmore.
Well luckily the good folks at Distortions Records laid down this essential collection of all The Mystic Tide's primo 60's 45's along with some great new material from Mr. Docko.

The group's early material is well represented by "I Wouldn't Care", "Why", "Stay Away" & "I Search For New Love." These tracks are all ultra cool stabs at a sort of Mersey-Beat sound with garage and surf rock overtones. However things really get cooking with the immortal "Mystic Eyes" (possibly influenced by Them.) "Mystic Eyes" is a pulsating death wail of garage punk oblivion. This thing just oozes all over you, Joe sounding like a second cousin of Eric Burdon on vocals while musically the Tide sound like an east coast answer to the Calico Wall. "Frustration" (not the Painted Ship track) is just a seething, full bore punk camando raid which brings to mind The Craig's "I Must Be Mad" in terms of all out intensity.

"Running Through The Night" heads off into Third Bardo territory of surf/psychedelic madness. "Psychedelic Journey Parts 1&2" is a non-stop instrumental choke hold which was inspired by The Butterfield Blues Band's landmark "East West" title track from 1966. Next up is the group's tour de force "Mystery Ship", this one is in the same bag as "Mystic Eyes", it just sort of sits there in it's own juices then strikes at the listener like a rattlesnake, Joe's guitar is just lethal on this one. "You Won't Look Back" ties up the original 60's material of the band in fine style, turning back to the group's early garage/folk sound.

The rest of the material contained on this album are recordings of Joe Docko with a 90's lineup of The Mystic Tide. When this record was first issued a lot rock-head garage purists pissed all over these new tracks, which is pure nonsense. Docko's new recordings pick up right where he left off in the 60's. "You Know It's True" sounds like vintage 1966 Tide with a slightly modern feel. "It's Simple Sister" (possibly influenced by "Broken Barricades" era Procol Harum) contains some beautiful guitar work from Joe that reminds me of both Jimi Hendrix and Greg Sage of The Wipers.

Next up is a worthy re-make of "Mystery Ship" with a slightly different arrangement, it brings to mind Arthur Lee's update of Love's "Signed D.C." from "Out Here" but it's far more successful. Also included is a new version of "Frustration" that is pretty fucking cool, again this sounds a great deal like The Wipers with a little Thin White Rope sprinkled on top. "Silver Rails-Going Home" is my personal favorite of the newer material, this one ranks with Docko's best and features some truly inspiring guitar phrases by Joe. "See The Light" and "Solid Ground" are also above average pieces that once again showcase Docko's fluid guitar playing. What I really admire about these recordings is that Joe didn't try to modernize this material with 80's production wank, these songs sound like they could have been recorded in the late 60's or early 70's had the group stayed together. What is clearly apparent is that Joe Docko still has his touch and should still be recording, I sure hope the lukearm reception of his newer material didn't prompt Joe into retirement.

When it's all said and done, The Mystic Tide were one of the truly great group's of the late 60's as this album so readily affirms. The Mystic Tide were easily the equals of the 13th Floor Elevators, Chocolate Watchband or any other 60's garage band you care to mention. If you enjoy this collection you should also seek out (The Wipers "Follow Blind", Thin White Rope "The Ruby Sea", Peter Kaukonen "Black Kangaroo", The Groundhogs "Split.")

 Released 1994 on Distortions
Reviewed by Dave Furgess, 15/02/2007ce


Tracks:
01. I Wouldn't Care
02. Why
03. Stay Away
04. I Search For New Love
05. Mystic Eyes
06. Frustration
07. Running Through The Night
08. Psychedelic Journey Pt.1
09. Psychedelic Journey Pt.2
10. Mystery Ship
11. You Won't Look Back
12. You Know It's True
13. It's Simple Sister
14. Mystery Ship
15. Frustration
16. Silver Rails - Going Home
17. See The Light
18. Solid Ground

Mystic Tide:
Paul Picell - Bass, Backing Vocals
John Wilham - Drums
Jim Thomas - Guitar [Rhythm], Backing Vocals
Joe Docko - Vocals, Guitar [Lead]

The Mystic Tide-Frustration 1966

[Rip and Scans by gigic2255]

Link:   368 mb/file

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Frijid Pink - Defrosted - (1971 us great heavy/psychedelic/blues-rock, repertoire reissue - FLAC)

March 9, 2013, 10:16 pm
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FRIJID PINK was a Detroit-based, blues rock band formed in 1967. They started releasing singles in 1969, in the hope of getting some success. Fortunately their distorted-guitar cover version of "The House of the Rising Sun" by The Animals reached the Top 10 on the U.S. Billboard Hot 100.

This made FRIJID PINK release their first, self-titled, album in 1970, including their massive hit. The line-up included Kelly Green on vocals, Gary Ray Thompson on guitars, Tom Harris on bass, Richard Stevers on drums, and additional keyboardist Larry Zelanka. However, this album, as well as their following, "Defrosted", also released in 1970, showed no traces of Prog, but was simply straight-forward Blues Rock, with some Psych influences.

In spite of that, it only took 2 years for FRIJID PINK to take a more Progressive direction. Now, with new vocalist, Jon Wearing, and new guitarist, Craig Webb, FRIJID PINK created "Earth Omen", leaving behind their former, straight-forward Blues Rock style, and moving towards a Heavy Progressive sound in the style of Uriah Heep, with remarkable Hammond organ and powerful guitar riffs.

Unfortunately, in 1975 FRIJID PINK went through another personnel change, leaving out vocalist Jon Wearing, who was the only one interested in exploring new grounds (he died on January 4, 2009). This brought about their final album, "All Pink Inside", showing once again a straight-forward Blues Rock band, with nothing new to show to the masses. The band finally disbanded soon after its release. 

However, in 2007 FRIJID PINK reformed, and have since been engaged in a series of live performances in the US. They have also been recording a new album, which should be released later in 2009.

While FRIJID PINK are not a 100% prog band, their third album, "Earth Omen", definitely shows a Heavy Rock band with a Progressive sound, very much in the vein of the already mentioned Uriah Heep, as well as Atomic Rooster. Recommended to all 70's Heavy Prog lovers. 







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Panama Limited - Indian Summer (1970, UK, beefheartique bluesyprog sound, Fingerprint CDrip, single flac + cue + splitter, artwork)

March 11, 2013, 8:17 am
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Late 60's jugband bluesoutfit led by Denis Parker alongside Gary Compton (harmonica) and Brian Strachan (guitar), the Panama Limited Jugband, also named after a Bukka White song (from 1930) The band was based in the Richmond area of London, which at the time was kind of a hotbed for blues (the Crawdaddy Club), especially acoustic style blues Shortly thereafter, however, Denis became disenchanted with the music business Thankfully he left us these recordings as an artefact They shortened their name to Panama Ltd for a second album by which time Liz Hann, their vocalist, had left and been replaced by Anne Matthews On this better second album their early jugband sound is replaced by a brand of Beefheart - influenced rock
(~dirtyfunky)

After the release of Panama Limiteds Jug Band eponymous lp Liz Hanns left the band and the music changed somewhat from the traditional raggedy jug blues along with a shortening of the band name. The first lp isnt that bad, its just tradtional blues. Liz Hanns vocals are kind of enjoyable though adding something quirky but the lps strongest point is its ultraviolet blue green photo negative on a traintrack psych sleeve with Granada TV 69 typeface.
'Indian Summer' has a character all of its own,it has more of a prog experimental blues side which lazily could be compared to Beefheart with Dennis Parkers vocals,but Dens influences must of run a bit deeper than that into blues purist-dom.The beautiful Anne Matthews was the new recruit playing vocals,harpsichord and percussion and adds some top baroque prog with doomy harpsichord on 'Darkness Brings'.

From the first track we get some great vocalmontagezip at the start of 'Moonshine' before descending in some lazy drunk blues.

'give me moonshine,just let me die'

This is one of a few lps where I can enjoy the banjo (apart from The Monks) as its provides colour and goes a bit raga in parts when the band jam out the codaaaaaaa. Subtle use of fuzz and wah- bass join the quirky blues.

'Dangle Wild' with its plod bass and Cale type violin drone is another stand out with the blues banshee wail from Anne Matthews,superb stuff.

The only let down is the last track with its playful pub blues comedy nonsense but this can be forgiven as each the other nine tracks are fucken great ORGANIC psych prog.

Trying to get this lp (on vinyl) is a pain though as its only been reissued once in the early 90s and the originals are very rare.Hopefully it will be released again?OOO KNOWS.
(~headheritage)


Tracks:
01. Moonshine
02. Set Me Free*
03. Citadel Chapters
04. Woman In Love
05. Dangle Wild
06. Eastern Man
07. Indian Summer
08. Future
09. Darkness Brings
10. Laughing+

Panama Limited:
Denis Parker - Vocals, Guitar and Banjo
Brian Strachan - Guitar and Mandolin
Dave Griffiths - Bass, Double Bass, Violin, Keyboards
Anne Matthews - Vocals, Harpsichord, Percussion
Gary Compton - Harmonica

* Larry Steele - congas
+ Jeff Jarrett - piano

Panama Limited: Moonshine

[Rip and Scans by gigic2255]

Link:  254 mb/file


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Sweet Toothe - Testing (1975, US, fuzzpsych(rural)hardrock, RE Dominion vinyl rip, single flac + cue + splitter, DR11, artwork)

March 13, 2013, 9:34 am
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Buying rare music is very much a crap game. Many dealers erroneously equate rarity with quality. Add to that the fact dealers are frequently trying to generate a market for their wares ... The end result is that many highly praised rarities are simply not that good.  Line up something as popular and common as "Revolver" against many sky high priced obscurities and guess which one you're more likely to repeatedly listen to ... Against that backdrop, once in a blue moon dealers get it right.  Here's one of those rare instances.

There are literally thousands of bands out their with stories similar to Bluefield, West Virginia's The Sweet Toothe.  You've heard the plotline before - group of buddies record an album for a small private label which pressed a handful of instantly obscure copies; the band then enjoy fifteen minutes of pseudo-fame (in this case opening for a mid-'70s reunited Iron Butterfly), before vanishing into the mists of rock history.  What makes these guys different (bassist Pierce Bratton, drummer Michael Chilco, lead guitarist Emerson Conley, singer Michael Hopkins and rhythm guitarist David Leedy), is the fact their sole album was actually really good.

Produced by Benny Quinn and Patrick Glossop, 1975's "Testing" was  \released by the small Nashville-based Dominion Records.  Interestingly, on those rare occasions it shows up on sales lists, the LP is frequently billed as psychedelic.  It isn't.  Sure, thanks in large measure of Conley's fuzz guitar, there were occasional psych touches, the most notable being the lyric to 'All the Way Home', but the majority of the album offered up more conventional hard rock structures. Propelled by Hopkins' attractive voice and Conley's nifty fuzz guitar, tracks such as 'Karen', 'Music's Gotta Stay', 'You Know How To Love Me and 'E.R.' sported great melodies and a sense of enthusiasm that must have made these guys a great live act.  Even their isolated stab at country bar band material ('Wind and Water') was likeable.  True, there wasn't anything particularly original, or earth shattering across these ten tracks, but the performances were uniformly energetic and enjoyable with some roaring lead guitar.  Even more impressive, for a small private pressing, credit producers Quinn and Glossop with giving the album a wonderful, deep and full sound.  Played loud on a quality stereo system, this LP rocks !!!  One of my all time favorite obscurities.

- Opening up with some of the prettiest fuzz guitar you've ever heard (not a description you normally associate with the effect), 'Karen' was a breezy, bluesy ballad with some highly eccentric sci-fi-ish lyrics.  I've listened to the song dozens of times and don't have a clue what it's about ...   The song was also tapped as the 'A' side for a promo single.   rating: **** stars
- More cowbell please ...  'Music's Gotta Stay' found the band taking a step toward being funky !   No you weren't going to mistake them for The Ohio Players, but the song actually had a enjoyable slinky feel.  Conley and David Leedy turned in some fantastic dual lead guitar work.   rating: **** stars
- Kicked along by some great harmonica (and I'm not a big fan of the instrument), 'Wind and Water' found the band switching musical gears, offering up a likeable slice of country-rock.  Great melody that I unexpectedly find myself humming on a regular basis.   rating; *** stars
- Like most mid-1970s bands, I have absolutely no doubt that these guys got screwed over royally by everyone they dealt with in the music business.  Those experiences seem to be the basis for 'Live In Concert' and it's dark and cynical the-music-business-sucks narrative.   Kudos to the band for including an anti-drug stance in the lyric when it wasn't a very popular thing to do, and to P.D. Bratton who turned in some amazing bass work.   rating: **** stars
- Not exactly a pop tune, but buoyed by some surprisingly attractive harmony vocals (and killer lead guitar), 'You Know How To Love Me' was definitely one of the album's more commercial numbers.     rating: **** stars
- 'Just Loved Look' opened side two with a hard core blues-rock number ...  very Allman Brothers sounding.  Great if you liked Duane and Greg, but may have been a bit too pedestrian for others.   rating: ** stars
- Another change of pace, the mid-tempo ballad 'In the Beginning' was the most conventional and radio-friendly number.  Pretty melody, uplifting lyrics, and it closed out with some of Conley's most energetic playing. What wasn't there to like on this one ?   rating: **** stars
- I have no idea who 'E.R' was, but powered by Bratton's bass, this was one killer rock track.  In fact my only complaint was the song's abrupt ending.    rating: **** stars 
-  'All the Way Home' offered up a likeable slice of Foghat-styled boogie rock.  Another personal favorite with Conley and Leedy just tearing the studio apart and the band again demonstrating some surprisingly sweet harmony vocals.   rating: *** stars
- 'Swamp Fox;' was another boogie track with a slinky edge. Fun, though the falsetto harmonies were a bit shrill.   rating: *** stars

There was also a limited edition promo single.  According to one of the band members, only 200 copies were pressed:

- 1975's 'Karen' b/w 'Music's Gotta Stay' (Dominion catalog number NR7224-1)

Reportedly only 1,000 copies were pressed, going a long way to explaining the high prices original copies fetch.

I'm guessing that it was a bootleg, but the album was also released with an alternative cover.  Like the original, the alternate version was credited to the Dominion label under catalog number NR7360-2.  
There's also a legitimate 400 pressing run by the small Void label (with altered cover art and pressed in white, red, and green vinyl).  Guitarist Emerson apparently remastered the tape for the reissue project.  Probably not a smart thing to tell you, particularly since I'd like to sell my original copy, but the reissue should run you about $25 (rather than my stiff, but reasonable asking price for the classic original).  In case you're impressed by stuff like this, the LP is listed in Hans Pokora's 1001 Record Collector Dreams.

I've never seen a copy, but Conley apparently remained active in music, reappearing under the name 'Emerson' with a 1992 album on the small LGM label ("The Power of Love" catalog number 2222).

It's a work in progress, but the band has a small website at:
www.SweetTootheTesting.com
(~badcatrecords)

Pro-sound rural rock/hardrock similar to Short Cross and Wedge, with strong songwriting and guitar/vocals. Three or four very good tracks with psychy westcoast hints, a few others are too rootsy barrock for me. Fans might also seek out Emerson (Conley) "The power of love" (CD 1992, LGM 2222), which is hampered by a drum machine but does have some good wailing guitar blues licks. [PL]
~~~
Superb flowing dual fuzz hardrock with first rate vocals, including harmonies, and dynamic ensemble playing. The opening two tracks "Karen" and "Music's gotta stay" are especially fine melodic hardrockers. Bit of a backwoods barband edge with several songs about the music biz and life on the road. Nice bluesy restraint and the lyrics. [RM]
~~~
On those rare occasions it shows up on sales lists, the LP is frequently billed as psychedelic. It isn't. Sure, there are occasional psych touches, the most notable being the lyric to "All the Way Home", but the majority of the album offers up more conventional hard rock structures. Propelled by attractive vocals and nifty fuzz guitar, tracks such as "Karen", "Music's Gotta Stay", "You Know How To Love Me" and "E.R." sport great melodies and a sense of enthusiasm that must have made these guys a great live act. Even their isolated stabs at country bar band material ("Wind and Water" and "Swamp Fox") are likeable. Even more impressive, for a small private pressing the album has a wonderful, deep and full sound. Played loud on a quality stereo system, this LP rocks! One of my all time favorite rarities. [SB]
(~Lysergia)


Tracks:
side one:
A1. Karen
A2. Music's Gotta Stay
A3. Wind and Water
A4. Live In Concert
A5. You Know How To Love Me

side two:
B1. Just Loved Look
B2. In the Beginning
B3. E.R.
B4. All the Way Home
B5. Swamp Fox

Sweet Toothe "Testing" Karen 1975

Sweet Toothe:
Emerson R. Conley - lead guitar
P.D. Bratton - bass
Michael Chilco - drums
Michael Hopkins - vocals
David M. Leedy - guitar

[Rip and Scans by gigic2255]

Link:   223 mb/file

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Stoneground - Family Album (1971 us brilliant psychedelic/west coast rock - Flac)

March 16, 2013, 12:55 pm
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É muito interessante o grande número de bandas que no final dos anos sessenta e início dos 70s, emergiram de comunidades hippies americanas, e mais interessante ainda deve ser vivenciar um estilo de vida totalmente fora do que é tradicionalmente considerada como sociedade, e além disso ainda poder criar e lançar excelente música!

Stoneground é um bom exemplo do que eu falei acima, vocês podem conferir isso através desse brilhante álbum duplo lançado em 1971. Desfrutem!


Stoneground was formed in 1968 in the San Francisco suburb of Concord, California. The original lineup consisted of Tim Barnes (guitars, vocals), Craig Randall (Bass, vocals), and Mike Mau (drums). Band manager and former Autumn Records executive Tom Donahue introduced the band to ex-Beau Brummels singer Sal Valentino and John Blakely (guitars, bass), both of whom joined Stoneground. 

Four female vocalists—Annie Sampson, Lynne Hughes, Lydia Phillips, and Deirdre LaPorte—were also added to the group. While touring America and Europe, the band added another new member, bassist/keyboardist Pete Sears, later of Jefferson Starship and Hot Tuna. 

Stoneground's self-titled debut album, released in early 1971, featured seven different lead singers on the album's ten tracks. Music journalist Robert Christgau said the album was "certainly the aptest use of Sal Valentino since the Beau Brummels were on Autumn". A Billboard review remarked that "Stoneground has a lot of advance publicity to live up to, and in light of their first LP the predictions may have been somewhat inflationary, though there's no denying the potential for excitement here".

During this touring period, Stoneground was a "traveling house band" for Medicine Ball Caravan, an attempt by Warner Bros. to promote the band and capitalize on the success of the concert film genre following Woodstock. 

The Medicine Ball Caravan film, which documented the 8,000 mile cross-country trip by 154 people in a "hippie caravan" of buses, trucks and musical groups, was directed by François Reichenbach—with Martin Scorsese as associate producer—and released in 1971. Three Stoneground songs appear on the original soundtrack, which also contains songs by Alice Cooper, B.B. King, Delaney & Bonnie, Doug Kershaw, and The Youngbloods. 

Allmusic writer Joe Viglione criticized the soundtrack for devoting "a third of the music [to] the bar band sounds of [Stoneground]".

Pete Sears left the band and returned to England to record on Rod Stewart's classic "Every Picture Tells a Story" album, later returning to the USA with Long John Baldry. Cory Lerios (keyboards, vocals) and Steve Price (drums) joined the band prior to the recording of Stoneground's second album, the double-LP Family Album, released in 1971. 

Billboard described the music as "infectiously exciting and ... colored by a wonderfully lighthearted feeling", and praised Lynne Hughes' vocals on "Passion Flower", the closest Stoneground ever came to having to a hit single. The song was also included on Fillmore: The Last Days, a 1972 triple live album chronicling the final run of concerts organized by rock concert promoter Bill Graham at San Francisco's Fillmore West, which closed on July 4, 1971. 

In 1972, the band released their third album, Stoneground 3. They also appeared in that year's Hammer Studios film Dracula A.D. 1972 starring Christopher Lee and Peter Cushing.

By 1973, the band was dropped by Warner Bros. due to disappointing record sales, and tensions within the group had risen after three years of constant touring. Stoneground's original formation played their final concert on January 6 at Sacramento Memorial Auditorium. The performance was released as an album, The Last Dance: Live January 6, 1973, by Dig Music in 2001. 

Within weeks of the concert, Sal Valentino left the group and moved on to a short-lived Beau Brummels reunion. Three other members—Lerios, Price, and David Jenkins—left to form the pop group Pablo Cruise. Barnes led various rosters of Stoneground for another ten years, along with original member Annie Sampson and singer Jo Baker, who joined in 1974. Other members included Terry Davis (guitars, vocals), Fred Webb (keyboards, vocals) and Sammy Piazza (drums). 

The band released three more albums during this period: Flat Out (1976), Hearts of Stone (1978), and Play it Loud (1980). In 1982, Stoneground released "Bad Machines and Limousines", an E.P. with early band member Pete Sears appearing as a guest on keyboards. In 2004, a reformed Stoneground—featuring Barnes and Price—released the album Back with a Vengeance.






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Mud - Mud On Mudd (1970, US, organ/guitar souly psychrock, UNI vinyl rip, single wav + cue, DR13, artwork)

March 19, 2013, 11:00 am
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I’m not sure why this one’s so hard to locate, though the butt ugly group cover photo might have something to do with it … hard to imagine waves of testosterone fueled young men fighting each other to grab this one. Much easier picturing piles of this one being returned by vendors and recycled into plastic key chains and throwaway lighters. It’s also another one of those bands that don’t seem to have much in the way of documented history. Anyone out there have the story on these guys? If so, let me know.

With production credited to Buffalo Bill Productions, 1970’s “Mud On Mudd” offered up a competent and occasionally engaging set of early-1970s hard rock. To be totally honest, you won’t find anything particularly original, or inspirational on the album, but virtually every one of the 11 tracks had something going for it , making it one of the more consistent releases I’ve stumbled across in recent times. Absent any kind of performance credits I can’t tell you anything about the band members, though the lead singer had a nice raspy voice that sounded a bit like a Joe Cocker in control of his faculties, or perhaps a less shrill Gary Wright.

The keyboardist and lead guitarist were also quite good, the former showcasing his talents on ‘Let’s Hurt Together’ while the latter powered tracks like ‘The Lights Gonna Shine’ with thick sustained chords that occasionally recalled Procol Harum-era Robin Trower. Musically the set was divided between popular rock covers (including an undistinguished Beatles track and a pair of decent Traffic covers) and what I’m guessing were originals credited in various combinations to A. Klein, V. Gabrielle, and Tom G. It’s one of those LPs where it’s hard to come up with an apt comparison, but imagine something along the lines of an early Americanized version of Spooky Tooth and you’ll be in the right neighborhood. (Bad Cat)
(~redtelephone66)

... more credited here


Tracks:
side one:
A1. Medicated Goo/The Lights Gonna Shine
A2. The Bells
A3. Let’s Hurt Together
A4. I Thank You
side two:
B1. Coloured Rain
B2. Satisfied Mind
B3. I’ll Sell My Heart To A Clown
B4. Why Don’t We Do It In The Road
B5. Let’s Think Awhile
B6. If We Try

Medicated Goo - Mudd
 

Mud:
Tommy ‘G’ Gonzales vocals horns
Randy Castillo - drums
Chuck Klingbeil - hammond B-3
Arnold Bodmer - keyboard
Steve D’Coda - lead guitar
Vic Gabrielle - bass and guitar

[Rip and Scans by gigic2255]

Link:   455 mb/file

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Dom: Edge Of Time (1971) (1995 Reissue) [APE]

March 20, 2013, 1:51 pm
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Artist: Dom
Album: Edge Of Time
Genre: Space Rock, Krautrock, Ambient Music
Year: 1971
Country: Germany
Label/Catalog: World Wide Records / W & W 005 (1995 Reissue)
Format: APE (image+cue+log)



PORTUGUÊS:
Altamente cultuado por colecionadores de krautrock, o Edge Of Time foi o primeiro e único álbum do Dom, cujos integrantes eram os irmãos húngraros László e Gábor Baksay, provavelmente refugiados políticos da Cortina de Ferro, assim como o polonês Reiner Puzalowski, enquanto que o único alemão de fato era Hans Georg Stopka. As origens da banda se dão em 1966 quando os irmãos Baksay e Puzalowski com a adição do vocalista Jürgen Scheps formaram o The Early Birds, uma banda de beat music que tocava pelos arredores de Düsseldorf. Algum tempo depois, a banda passou a se chamar The Set Minds ao incluir Gert Schlagenhaufer, um segundo guitarrista, e após várias outras trocas de formação, a banda finalmente virou Dom em 1970.

Sendo considerado um dos álbuns mais originais e criativos de krautrock, o Edge Of Time é incrivelmente eclético e combina elementos de diversos estilos, como por exemplo, o lado atmosférico e a psicodelia do Tangerine Dream pelas passagens de teclado e as colagens sonoras, tão comuns naquela época, ou o lado acústico e folk do Amon Düül II que também quebrava completamente as estruturas do que se conhecia como rock. Longe de ter um som agressivo - pelo contrário, uma vez que é completamente ambiente - porém denso, o Edge Of Time é uma verdadeira obra-prima quase que completamente esquecida no tempo que cada vez mais ganha admiradores. Totalmente imperdível para os fãs de krautrock.


ENGLISH:
Highly praised by krautrock collectors, Edge Of Time was Dom's debut and only album, whose members where Hungarian brothers László and Gábor Baksay, probably political refugees out of the Iron Curtain, as well as Polishman Reiner Puzalowski, while the only German in fact was Hans Georg Stopka. The band origins date back to about 1966 when the Baksay brothers and Puzalowski with the addition of vocalist Jürgen Scheps formed The Early Birds, a beat music band that played around Düsseldorf clubs. Some time later, they became The Set Minds by including Gert Schlagenhaufer, a second guitarrist, and after many line-up changes, they finally became Dom in 1970.

As being considered one of the most original and creative krautrock albums, Edge Of Time is incredibly eclectic and blends elements from uncountable genres, such as the acoustic side and the psychedelia of Tangerine Dream for the organ passages and the sound collages, so much back then, or the folk and acoustic side of Amon Düül II which also completely broke with all structures of what was known as rock music. Far from being agressive - quite the opposite, once that it's completely ambient - although dense, Edge Of Time is a true masterpiece almost completely forgotten as the time went whose following of admirers has been always increasing. A real must-have for krautrock fans.


Tracklist:
01 Intruitus (8:55)
02 Silence (8:53)
03 Edge Of Time (9:05)
04 Dream (9:37)

Line-up:
László Baksay - bass, lyrics, vocals
Gábor Baksay - percussion, flute, vocals
Reiner Puzalowski - guitar, flute, vocals
Hans Georg Stopka - organ, guitar, vocals

Originally released as Melocord ST D-001 (private pressing) in 1971



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Omega: 200 Years After The Last War (1974) (1991 Reissue) [APE] - Request

March 21, 2013, 8:34 pm
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Artist: Omega
Album: 200 Years After The Last War
Genre: Symphonic Progressive Rock
Year: 1974
Country: Germany
Label/Catalog: Bacillus Records / 288•09•029 (1991 Reissue)
Format: APE (image+cue+log)



PORTUGUÊS:
Omega, o maior expoente do rock húngraro, já é uma velha conhecida da casa e foi uma das pouquíssimas bandas da Cortina de Ferro que ganharam algum reconhecimento no mundo ocidental graças aos seus álbuns com letras em inglês e lançados pela Bacillus Records, um dos maiores selos progressivos da Alemanha. Nos primeiros com a Bacillus, no entanto, a discografia da banda é bastante confusa, com músicas cantadas em inglês selecionadas de álbuns diferentes e lançadas em um outro álbum, o que é o caso do 200 Years After The War. Sendo o segundo álbum da Bacillus, o 200 Years trazia versões em inglês de 'Szvit' e 'A jövendômondó' que os húngaros já conheciam no álbum Omega 5 (1973), de '200 évvel az utolsó háború után' que havia sido censurada na Hungria, e de 'Nem tudom a neved', que os húngaros só conheceriam em 1975 no álbum 'Omega 6 - Nem tudom a neved'. De qualquer maneira, com o sucesso da banda, eles não só permaneceram na Bacillus como também foram autorizados pelo governo húngaro a gravar e fazer turnês em diversos países. O 200 Years After The War era só uma amostra grátis para o mundo ocidental em relação ao que banda ainda estava pra produzir, em outras palavras, uma excelente coletânea.

Curiosamente o 200 Years chegou a ser lançado no Brasil - que foi, diga-se de passagem, o único lugar fora da Alemanha - pela Sábado Som, assim como o álbum da capa vermelha simplesmente entitulado 'Omega' e ambos em 1974. Ao que se sabe, a Sábado Som só dispunha da versão quadrifônica e pela pequena quantidade de unidades produzidas, naturalmente que hoje em dia ela tem um alto valor de coleção.


ENGLISH:
Omega, the greatest exponent of Hungarian rock, is already very known here in the house and was one of the very few bands behind the Iron Curtain which earned some following and recognizement in the Western world thanks to their albums sang in English and released by Bacillus Records, one of the biggest progressive labels in Germany. The first Bacillus releases, however, made their discography very much confusing, with English versions of songs selected from different albums and compilated into a new one, what in fact is the case of 200 Years After The War. As being the second Bacillus release, 200 Years featured English versions of: 'Szvit' and 'A jövendômondó', already known by Hungarians on Omega 5 (1973); '200 évvel az utolsó háború után', censored in Hungary in 1972; and 'Nem tudom a neved', which would be featured on 'Omega 6 - Nem tudom a neved' from 1975 exclusively for the Hungarian market. But otherwise, the band's sucess led them to remain signed on Bacillus for a long time and to be allowed by Hungarian government to record albums and tour in many countries. 200 Years After The War was just a sample for the Western world of what they could still expect from them, in other words an excellent compilation.

Curiously, 200 Years was released in Brazil - which was, by the way, the only place out of Germany - by Sábado Som, as well as the red cover album simply entitled 'Omega' and both in 1974. As far as it is known, the Brazilian pressing was only available as quadraphonic and for the small amount of copies produced, it naturally became a highly collectable nowadays.



Tracklist:
01 Suite (Szvit) (19:23)
02 Help to Find Me (Nem tudom a neved) (7:41)
03 200 Years After The Last War (200 évvel az utolsó háború után) (5:11)
04 You Don't Know (A jövendômondó) (3:25)

Line-up:
János Kobor - lead vocals, percussion
György Molnár - acoustic & electric guitars
László Benkö - organ, Moog, backing vocals
Tamás Mihály - bass, Mellotron, backing vocals
Ferenc Debreceni - drums, percussion

Originally released as Bacillus Records BAC 2022 in 1974



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Yatha Sidhra: A Meditation Mass (1974) (2004 Reissue) [FLAC]

March 23, 2013, 11:59 am
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Artist: Yatha Sidhra
Album: A Meditation Mass
Genre: Krautrock, Progressive Rock, Ambient Music
Year: 1974
Country: Germany
Label/Catalog: Motor Music / 06024 981 308-4 (2004 Reissue)
Format: FLAC (image+cue+log)



PORTUGUÊS:
Provavelmente um dos mais refinados álbuns "cósmicos" já feitos na Alemanha, A Meditation Mass foi o primeiro e único trabalho do Yatha Sidhra. A banda, cujo nome original era Brontosaurus, foi formada pelos irmãos Rolf e Klaus Fichter, o flautista Peter Elbracht e o baixista francês Jean-Michel Boivert, com um som que lembrava uma versão mais pesada do Jethro Tull. Porém, em 1973, a banda mudou completamente sua direção musical e começou a trabalhar na suíte 'A Mediation Mass', que ao ser tocada ao vivo em um de seus shows, eles conseguiram despertar interesse de Achim Reichel (A.R. & Machines), que através de sua produtora Gorilla Musik ele concedeu um contrato à banda pela renomada Brain Records. Como o nome Brontosaurus não encaixava mais à nova proposta da banda, Yatha Sidhra, um nome com um apelo mais "místico" foi escolhido.

Apesar de ter sido sumariamente ignorado não só pela imprensa alemã, mas também por fãs de progressivo alemão, o Meditation Mass parecia ter uma atmosfera um tanto enigmática ambientada no oriente, mas por outro lado também bastante temperamental com uma grande variação de velocidade, sem falar no uso de efeitos psicodélicos de eco e reverberação. Uma combinação incomparável de krautrock, música ambiente e música oriental. Essencial a qualquer fã de krautrock.


ENGLISH:
Probably one of the finest "cosmic" albums ever produced in Germany, A Meditation Mass was Yatha Sidhra's debut and only work. The band, whose original name was Brontosaurus, was formed by Rolf and Klaus Fichter brothers, flutist Peter Elbracht and French bassist francês Jean-Michel Boivert, sounding like Jethro Tull with a heavier approach. Nonetheless, in 1973, they completely changed their musical direction and began working on the 'A Meditation Mass' suite, which in a certain occasion of being played live, they caught the attention of Achim Reichel (A.R. & Machines), who through his Gorilla Musik producing company he arranged a contract for them by the renowned Brain Records label. As the name Brontosaurus didn't fit anymore with the new musical approach, Yatha Sidhra, a name with a much more "mystical" appeal was chosen instead.

In despite of being mostly ignored not only by German press but also by German progressive fans, A Mediation Mass seemed to have a way too enigmatic East-ambiented atmosphere, but on the other hand also quite temperamental with a big variation of speed, not to mention the use of psychedelic echo and reverb effects. An uncomparable combination of krautrock, ambient and Eastern music. Essential to any krautrock fan.



Tracklist:
01 Part 1 (17:45)
02 Part 2 (3:13)
03 Part 3 (12:00)
04 Part 4 (7:16)

Line-up:
Rolf Fichter - Moog synthesizer, Indian flute, vibes, electric piano, electric guitar, vocals
Klaus Fichter - drums, percussion
Matthias Nicolai - electric 12-string guitar, bass
Peter Elbracht - flute

Originally released as Brain 1045 in 1974



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Mama Lion - Preserve Wildlife (1972, us Brilliant hard/blues-rock featuring Lynn Carey - Flac)

March 23, 2013, 12:16 pm
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Bem, eu acho que está na hora de colocar uma "mina" na parada! (he, he,...)
Além de maravilhosa visualmente falando, ela cantava divinamente; desfrutem!


Mama Lion was a blues/rock quintet formed in the early seventies. 

Produced by Neil Merryweather, Mama Lion was a group destined to show off the Joplinesque voice of Lynn Carey, a sculptural blonde beauty previously in Ivar Avenue Reunion. 

As often with the Merryweather outputs, the music is a rather loose mix of blues and rock.

Most of the songs were written as a collaboration between Merryweather and Carey, with a few covers thrown in for good. 

Not all the songs are “radio friendly” if you know what I mean. But sexual inuendo apart, there’s still something in the music and singing. 

Gaxiola is a great guitar player and you can tell that Jim Howard was classically trained by listening to the piano-intro on “Mr. Invitation”.

Lynn Carey has often been compared with Janis Joplin, but her vocal style could just as easily be compared to Kathi McDonald. 

She sings with a lower pitch and a voice that sometimes resembles those of old-time blues singers. Lynn Carey was one of the most powerful woman singers in rock history as well.

But Lynn Carey’s career doesn’t start with singing in front of a band in the 70’s. Her career goes way back to her early teens, acting for various TV shows and movies before joining up and recording with various bands.

Their records are now mostly remembered for their sleeves, especially the first with Lynn Carey breastfeeding a lion cub.





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Joshua Fox - same (1969, US, w-c harmony rockin`folkie psych, Tetragrammaton vinyl rip, single flac + cue + splitter, DR12, artwork)

March 24, 2013, 8:16 am
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Described by Bongo’s as “Sgt.Pepper Styled Pop”, this west coast group featured Mike Botts (on drums) who would eventually join Bread. The group also included Larry Hanson (guitar), Josef Lamanno (guitar-bass) and Tom Menefee (guitar).

The comparisons to Sgt Pepper are on the mark, though this reminds me of any number of late sixties British psychedelia groups, and maybe a little bit of what Michael Lloyd was doing on the west coast at the time. (Jack Dominilla) ~redtelephone66



Tracks:
side one:
A1. Young Man
A2. It's Just Meant To Be
A3. Goin' Down For Big Numbers
A4. Come What May
A5. We're All In It Together
A6. How I Managed To Stay Off The Truck And Find Comfort In My Insanity
A7. Monkey Song
side two:
B1. Don't Tell Me A Story
B2. Billy Goat Capricorn Lover
B3. Anne
B4. Are You Sleeping
B5. Moontime Bore (She Said)

Joshua Fox - It's Just Meant To Be (1969)

Joshua Fox:
Mike Botts - drums
Josef Lamanno - bass
Tom Menefee - guitar
Larry Hansen - guitar

[Rip and Scans by Frantanovak)
vinyl VG shape (Goldmine`s grading)

Link:   268 mb/file


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Orang-Utan: Orang-Utan (1971) (1998 Reissue) [FLAC]

March 25, 2013, 11:55 am
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Artist: Orang-Utan
Album: Orang-Utan
Genre: Hard Rock, Acid Rock, Heavy Psychedelic Rock
Year: 1971
Country: England
Label/Catalog: Lizard Records / LR 0703-2 (1998 Reissue)
Format: FLAC (image+cue+log)



PORTUGUÊS:
Conhecida na verdade como Hunter, essa banda foi formada no fim dos anos 60 no norte de Londres por um grupo de músicos bastante talentosos de outras bandas locais de algum reconhecimento, mas que haviam se desfeito. O único álbum que eles gravaram mostram o altíssimo nível de qualidade musical, a criatividade e a originalidade ao fazer um hard rock com toques um tanto ácidos ou psicodélicos, dotado de distorções ainda incomuns para a época e uma intensidade bastante similar às bandas de stoner rock. A banda, portanto, decidiu gravar em um estúdio em Londres com 16 pistas e diversos recursos altamente avançados para a época. Curiosamente, o álbum foi somente lançados nos Estados Unidos pela Bell Records por um Adrian Miller, que se passou de produtor da banda, sem o consentimento de quaisquer integrantes! Miller é quem na verdade sugeriu o nome Orang-Utan ao verdadeiro produtor da banda, ainda que a mesma continuasse a se apresentar como Hunter - nome de uma música de Albert King - até seus últimos dias. O guitarrista Sid Fairman sequer foi creditado, uma vez que ele deixou a banda pouco após a gravação do álbum. No fim das contas, eis o exemplo de uma banda talentosa que poderia ter feito bastante sucesso, mas que infelizmente esteve cercada de pessoas erradas que conseguiram colocar tudo a perder.


ENGLISH:
Actually known as Hunter, this band was formed in the late 60s in North London by a group of highly-gifted young musicians from other local bands of some recognizment which had disbanded shortly before. Their only album shows the top-grade musical quality, creativity and inventivity making a hard rock fulfilled of acid and psychedelic approaches, driven by still uncommon distortions for those times and an intensity quite similar to stoner rock bands. The band, therefore, decided in a then "state-of-the-art" 16-track studio facility in London with the latest sound technology available. Curiously, the album was only released in the United States by Bell Records through a certain Adrian Miller, who pretended to be the band's producer and without any band members' consent! Miller was who in fact secretly suggest the real bands's producer to change their name to Orang-Utan, even if they kept going on under the name Hunter - after an Albert King's song - until their last days. The guitarrist Sid Fairman wasn't ever credited, once that he left the band shortly after the album recording. At the end of everything, here's the example of a talented band which could have been very sucessful, which sadly was surrounded with some wrong people who managed to make everything go down the drain.



Tracklist:
01 I Can See Inside Your Head (3:15)
02 Slipping Away (6:12)
03 Love Queen (4:31)
04 Chocolate Piano (6:33)
05 If You Leave (5:22)
06 Fly Me High (4:38)
07 Country Hike (4:20)
08 Magic Playground (3:20)

Line-up:
Jeff Seopardie - drums
Paul Roberts - bass guitar
Sid Fairman - guitar
Mick Clarke - guitar
Terry "Nobby" Clark - vocals

Originally released by Bell Records in 1971 in the United States



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The Damnation Of Adam Blessing - The Damnation Of Adam Blessing....Plus (1969 us Splendid psychedelic heavy/hard rock, Akarma reissue, 2 bonus - Flac)

March 30, 2013, 5:09 pm
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Excelente banda norte-americana do final dos anos sessenta, em seu debut álbum de 1969, disponibilizando-nos um mix de psicodelia e hard rock da melhor qualidade; e não podemos deixar de citar os brilhantes covers feitos nesse álbum. Edição com 2 bonus tracks! Desfrutem!


Cleveland rocks! It really does, and not just because the Rock & Roll Hall of Fame has a 44114 zip code. Something about being at the foot of Lake Erie, in the American heartland, seems to make the rock rock harder, the funk funkier, and the music generally more honest as a whole. 

Early-'70s psychedelic hard rock band The Damnation Of Adam Blessing is a prime example of Cleveland's particular influence at work. They're hard and heavy, but they don't screech and scream. 

They are unabashedly psychedelic, but they show some tasteful restraint. They rock, but they rarely bludgeon. Again, "honest" rock is the operative word and the Damnation certainly pull no cheap punches on their self-titled debut. 

Reissued by Italian imprint Akarma, Damnation of Adam Blessing...Plus offers up their 1969 debut, with the addition of two unreleased bonus tracks, and a sizable booklet of band info and interviews. Awesome stuff for the die-hard collector, but is the music any good? You bet, but you have to listen. 

An almost guaranteed turn-off (on a heavy duty rock record, at least) would be the appearance of a cover of "Last Train to Clarksville," but the funky, greasy rock version contained here has got to be the best treatment this Monkees' tune has ever had. 

The Damnation do it up like Led Zeppelin-meets-Otis Redding, without a speck of camp or exploitation, and succeed in doing what so many strive for, but few achieve: placing a cover song into a genuinely new light. 

The Damnation aren't infallible, though. They have a tendency to wear their influences on their sleeves, especially when shifting sonic gears from song to song. "Dreams" nuzzles its nose a little close to the Doors' doorstep and manages to swing by the Zombies' flat on the way -- aping the smooth West Coast jazz tendencies of the former and the sweet and solid backing harmonies of the latter -- but not so much that you'd feel insulted by it, or even care. 

The sleeves may be out, but the bits of the Guess Who ("Lonely"), Blue Cheer ("Le' Voyage"), and "Love" ("Strings and Things") are subtle and welcome rather than obvious and overbearing, just a young band stretching their legs and playing what they like to hear. This isn't monumentally groundbreaking music, but it is darn solid rock. (Scott McClintock, Rovi )






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Domo: Domo (2010) [FLAC]

April 1, 2013, 11:41 am
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Artist: Domo
Album: Domo
Genre: Hard Rock, Stoner Rock, Heavy Psychedelic Rock, Doom Metal
Year: 2010
Country: Spain
Label/Catalog: Self-Released
Format: FLAC (image+cue+log)



PORTUGUÊS:
Formado em janeiro de 2010, Domo é um power trio espanhol cujo som é cercado de influências do anos 70 e que pode ser classificado como um híbrido das experimentações e a atmosfera do rock psicodélico com a força e a brutalidade do stoner rock e do doom metal, sendo também essencialmente similar às bandas do selo norte-americano MeteorCity. Pouco se sabe sobre essa banda, mas o único o trabalho dela é a prova de que é formada por músicos bastante talentosos capazes de derreter seu cérebro com o melhor do psicodélico que há nos dias de hoje. Além disso tudo, a banda também dispõe de download gratuito do álbum direito de seu próprio site e ainda em diversos formatos, mas caso você queira comprar o CD deles, este sai por 10 Euros mais o frete. Imperdível!


ENGLISH:
Formed in January 2010, Domo is a Spanish power trio whose sound is surrounded of influences from the 70s and which could be easily classified as a hybrid of psychedelic rock experimentations and atmosphere with the strenght and brutality of stoner rock and doom metal, consequently resembling North American record label MeteorCity bands. Little is known about this band, but their only work is the proof of how accomplished the members are, capable of melting your brain with some of the best highly-crafted psychedelic music available these days. Besides everything, the band dispose of free download of their album on their own site in many formats, but in case you want to buy their CD, it's going to cost you 10 Euro plus shipping. Never to me missed!



Tracklist:
01 Nadi
02 Prana
03 Asura
04 Pretas
05 Yamantaka
06 Eta Carinae
07 Samsara

Line-up:
Sam - guitar, effects
Paco - drums
Óscar - bass, vocals



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Joe Tex - Singles A's & B's, Vol. 2: 1967-1968 (2010 us fantastic early R&B, Southern Soul - Flac)

April 6, 2013, 4:43 pm
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Nem só de hard rock vive um uploader, (eh, eh, eh...). Grandes sons aqui! Desfrutem!


There have been a lot of Tex compilations, and if you're serious enough to want all of his A-sides and B-sides from his prime, you'll inevitably have at least some of this on other CDs. 

However, if you do appreciate an intelligently compiled and sequenced series of his 45s for the Dial label, this is a reliably well-packaged anthology of both sides of 11 singles he issued in 1967 and 1968. 

"Skinny Legs and All" might have been the only track here to make a big splash on the pop charts, but most of these were solid sellers in the R&B market, including "Show Me," "Men Are Gettin' Scarce," and "Keep the One You Got." Because this does include some secondary singles and B-sides, it's not as consistent a listen as more selective best-ofs. 

But it is pretty consistent, Tex providing his credentials as one of the most accessible of the soul stars moving into a more funky late-'60s sound, with some shades-of-James Brown shout-vocals. He's got a much more evident and effective sense of humor than most big soul names, too, though a good-natured one that's dated well. 

Some of the cuts (almost all written by Tex) are filler, like the oft-covered "C.C. Rider," the sentimental holiday piece "I'll Make Everyday Christmas (For My Woman)," and the instrumentals "Chocolate Cherry" and "Betwixt and Between" (actually credited to the Joe Tex Band). But overall, the standard is high on this retrospective, though it's not a complete record of what he was doing during the period, as he was also issuing LPs as well. ~ Richie Unterberger







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Silberbart: 4 Times Sound Razing (1971) (2002 Remaster) [FLAC]

April 8, 2013, 7:44 pm
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Artist: Silberbart
Album: 4 Times Sound Razing
Genre: Krautrock, Acid Rock, Heavy Psychedelic Rock
Year: 1971
Country: Germany
Label/Catalog: Progressive Line / PL 558 (2002 Remaster)
Format: FLAC (image+cue+log)



PORTUGUÊS:
Bastante similar ao Hairy Chapter, Gomorrha e Guru Guru (especificamente em seus dois primeiros álbuns), o Silberbart era um power trio alemão bastante promissor com músicas variando entre o hard rock tradicional de veias bluesísticas e longos improvisos com um senso de experimentação radical somente visto em bandas alemãs. Assim como o Guru Guru, o Silberbart poderia ser visto como outro equivalente alemão do Cream, mas da mesma forma que seus conterrâneos, muito mais experimental. Infelizmente, não se sabe muito além sobre essa banda do que está escrito no encarte de seu único álbum, originalmente lançado pela subsidiária alemã da Philips, que por sua vez preferia lançar bandas mais pesadas, como Kraftwerk (em seus primeiros dois álbuns), Frumpy, Lucifer's Friend, Cravinkel, Eloy (em seu primeiro álbum), Thrice Mice e tantas outras que ou fizeram algum sucesso ou o que desapareceram depois de apenas um álbum, como é o caso do Silberbart. Apesar de tudo, uma excelente banda de interesse para fãs de psicodélico pesado, e é claro, de krautrock também.


ENGLISH:
Quite similar to Hairy Chapter, Gomorrha and early Guru Guru, Silberbart was a great promissing German power trio with songs varying from blues-oriented traditional hard rock to long jams of a weird taste for radical experimentation only seen in German bands. As well as Guru Guru, Silberbart could be seen as another German counterpart of Cream, even though much more experimental just like their fellow countrymen. Unfortunatly, it isn't much known about this band more than what was written on their album sleeve, originally released by Philips German subsidiary, which by the way had an odd taste for releasing some heavy rock oriented bands, such as Kraftwerk (in their two first albums), Frumpy, Lucifer's Friend, Cravinkel, Eloy (on their debut album), Thrice Mice and so many other ones which either enjoyed some commercial success or disappeared just after one album recorded - such is the case of Silberbart. In despite of everything, an excellent band of interest to heavy psychedelic and - obviously - krautrock fans too.



Tracklist:
01 Chub Chub Cherry (4:23)
02 Brain Brain (16:16)
03 God (10:07)
04 Head Tear Of The Drunken Sun (12:00)

Line-up:
Werner Klug - bass
Peter Behrens - drums, percussion
Hajo Teschner - guitars, vocals

Originally released as Philips 6305 095 in 1971



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