7 de noviembre de 2009

The Rolling Stones (1982)- Shattered in Europe

01. Under My Thumb
02. When the Whip Comes Down
03. Let's Spend the Night Together
04. Shattered
05. Neighbors
06. Black Limousine
07. Just My Imagination
08. [band introductions]
09. Little T & A
10. Angie
11. Tumbling Dice
12. She's So Cold
13. Hang Fire
14. Miss You
15. Honky Tonk Woman
16. Brown Sugar
17. Start Me Up


DESCARGA
01
.-. 02


Deep Purple - Unplugged (Live At South Africa Radio - 23/Marzo/1995)

¡Radio Broadcast!

Sonido 9.5/10

01. Intro
02. Black Night
03. Child in time
04. Intro
05. Highlander
06. Intro
07. When A Blindman cries
08. Intro
09. Woman from Tokyo


DESCARGA


Gentileza de Barreiro!


Jimi Hendrix & John McLaughlin - Record Plant New York, March 25,1969


Tracklist:
01.Driving South 12.05 ;
02.Everythings gonna be alright 15.25



DESCARGA

A natural leader, a poet,
a Shaman, w/the
soul of a clown.
What am I doing
in the Bull Ring
Arena?
Every public figure
running for Leader
Spectators at the Tomb
—riot watchers
Fear of Eyes
Assassination
Being drunk is a good disguise.
I drink so I can talk to assholes.
This includes me.


---------[traducción]---------


Un líder natural, un poeta,
un Chamán, c/el
alma de un payaso.
¿Qué estoy haciendo
en la arena
de la Plaza de Toros?
Todas las figuras públicas
son candidatas a líder
Espectadores en la Tumba
observadores de la revuelta
Miedo a los Ojos
Asesinato
Estar borracho es un buen disfraz.
Bebo para así poder hablar con los imbéciles.
Yo incluido.


Poema Extraído de POEMAS OCULTOS de Jim Morrison

Clutch (2009)- Strange Cousins from the West


Clutch is an American rock band from Germantown, Maryland, formed in 1990. The band's first release was an EP entitled Pitchfork, which debuted in October 1990. Their first studio album, Transnational Speedway League, was released three years later in 1993.

Clutch formed in 1990 and built a local following through constant live performances. Following the initial 7" single release of "Passive Restraints" on the Earache label, Clutch was signed by the EastWest Records label. The debut LP, Transnational Speedway League, was released in 1993. It was followed by a self-titled album two years later that afforded Clutch mainstream exposure. The band moved to the larger Columbia label for 1998's The Elephant Riders release.

Pure Rock Fury appeared in 2001 on the Atlantic label. The title track was initially released as the first single. The program director for North Carolina rock station, WXQR (Rock 105), Brian Rickman, suggested that the label switch singles to another track from the album, "Careful with that Mic". Atlantic did so, and Clutch was afforded a surprise hit single. The follow-up tracks, "Immortal" and "Open Up the Border" were also well-received by American rock stations.

The album Blast Tyrant was released three years later, their first for DRT Records. The band once again enjoyed more rock radio airplay and heavy rotation on the Music Choice cable service thanks to the single "The Mob Goes Wild". Its accompanying video was directed by Bam Margera, and featured Margera's Viva La Bam co-stars; Ryan Dunn, Brandon DiCamillo and Don Vito.

Among Clutch's numerous side releases were a groove-based album, 2000's Jam Room, as well as Live at the Googolplex and the rarities record Slow Hole to China, both issued in 2003. The 2005 release Pitchfork & Lost Needles combined Clutch's 1990 Pitchfork 7 with unreleased demos and early tracks. In 2005 the band saw their first lineup change since the early 1990s with the addition of organist Mick Schauer, who performed on the albums Robot Hive/Exodus and From Beale Street to Oblivion. The latter album was released in March 2007 and featured producer Joe Barresi (Kyuss, Melvins, Queens of the Stone Age, Tool). The album was leaked onto the internet in early March. Critical reaction has been overwhelmingly positive; the magazine Metal Hammer called it a "future classic, the best album the group has ever produced, and easily a front runner for album of the year."

While the band has not recovered their previous radio airplay with subsequent releases, Clutch have accumulated a devoted cult following. The following has been cultivated by an ambitious touring schedule; the band often performs more than one hundred shows per year. The band's first live DVD, Full Fathom Five, and accompanying CD, produced/directed by Agent Ogden, were released in September 2008. The band also released a remastered version of Slow Hole to China: Rare and Unreleased on April 28, 2009

The band's ninth studio album Strange Cousins From The West, was released on July 14, 2009. Some of these songs were performed at the venue The Crazy Donkey in Farmingdale, NY, Kuma's in Chicago, IL, as well as Jed's (formerly Headliners) in Toledo, OH, prior to the album's release. [@Wikipedia]


TrackList:

1. "Motherless Child"
2. "Struck Down"
3. "50,000 Unstoppable Watts"
4. "Abraham Lincoln"
5. "Minotaur"
6. "The Amazing Kreskin"
7. "Witchdoctor"
8. "Let a Poor Man Be"
9. "Freakonomics"
10. "Algo Ha Cambiado"
11. "Sleestak Lightning"


LINE-UP:

Tim Sult – Guitar
Jean-Paul Gaster – Drums and Percussion
Dan Maines – Bass
Neil Fallon – Guitar and Vocals


DESCARGA


6 de noviembre de 2009

Twink (1970)- Think Pink [UK Psych-Space]


John Charles Alder is Twink. Born in November 29, 1944 he was a prominent member of the U.K. Psychedelic scene in the late 60's and early 70's.

His first appearance was in 1963 as a member of the Rhythm and Blues Colchester-based DANE STEPHENS AND THE DEEP BEATS. The next year, they signed to Decca Records and changed their name to THE FARIES. They only made three singles through the band's existence. Rumor has it that the band were sent gifts and John Alder, "having long curly hair, regularly received bottles of Twink brand home perm lotion. It was at this time that he adopted TWINK as his stage name." They disbanded in 1965.

The same year THE FARIES disbanded Twink moved to London where he joined the Soul group THE IN-CROWD which later changed its name to TOMORROW. TOMORROW was one of the leading bands in the U.K. Psychedelic scene along with Pink Floyd and Soft Machine. They only managed to release one album in 1968 before disbanding.

Twink later went and joined THE PREETY THINGS and managed to release one album with the band before leaving in 1969.

In the middle of 1969, Twink started to work on his solo album, "Think Pink", with the help of some friends like Paul Randolph from THE DEVIANTS, Steve Peregrine Took from TYRANNOSAURUS REX, John Wood from TOMORROW and Wally Allen,John Povey from THE PREETY THINGS. Mick Farren from THE DEVIANTS recorded the album. The album was released in 1970.

The recording sessions of his solo album Twink, Peregrine and Farren went and created THE PINK FARIES. The line-up didn't last long and Mick Farren left the band after an argument. TWINK later formed another line-up and released one album before leaving the band in 1971, but he returned in 1975 and recorded an EP in 1977 and in 1987 for a reunion tour.

After leaving THE PINK FARIES in 1971-72 he moved to Cambridge where he formed the band STARS with Syd Barret and Jack Monk. The band was short lived. Syd Barret walked offstage during their first live appearance and never came back.

Twink was also a member of THE RINGS after an injury caused by a car crash. He was the vocalist for the band and released and album in 1977.

When touring with THE PINK FARRIES in their reunion tour in late 1980's Twink made a collaboration with PLASTICLAND and recorded one album with them which was released in 1989.

Twink released his second solo album in 1990 called "Mr. Rainbow".
[@Progarchives]


Studio Album, released in 1970


Songs / Tracks Listing

1. The Coming Of The One (3:37)
2. Ten Thousand Words In A Cardboard Box (4:31)
3. Dawn Of Magic (1:43)
4. Tiptoe On The Highest Hill (5:23)
5. Fluid (4:04)
6. Mexican Grass War (5:29)
7. Rock And Roll The Joint (2:46)
8. Suicide (4:26)
9. Three Little Piggies (3:15)
10. The Sparrow Is A Sign (2:23)


Line-up / Musicians

Twink – Drums, Vocals
Paul Rudolph – Guitar, Bass, Vocals
John 'Junior' Wood – Bass
Wally Allen – Piano
John Povey – Sitar, Mellotron
Steve Peregrin Took – Guitar, Percussion, Vocals
Viv Prince – Drums" (Mexican Grass War)


DESCARGA

Scans




Gritty psychedelia, quite ahead of it's time.

TWINK is essentially John Charles Alder and with the help of various members of the British psychedelia scene he recorded and released this fine album in 1970 (although the recording quality and music are firmly rooted in the 60s).

'The Coming of the Other One' starts off our journey and is the most psychedelic song on the album, it's really out there and one interesting thing to note is the similarity that it bears to later krautrock acts with the ethnic percussion and sitar as well as spoken word parts (focusing on the apocalypse in the year 1999, a novel concept now that year has passed). 'Dawn of Magic' is another real highlight, a short song of chanting and building, very intense. 'Tiptoe on the Highest Hill' provides us with some great jamming and sparse soundscapes. Mexican grass war is quite a unique song with a marching motif and various percussion along with tympani and yelps and guitars coming in and out of the mix. Suicide is a very raw and melancholy investigation of the dark side of the mind, made even more so by the fairly upbeat nature of the main part of the song, contrasted with the spacey reverberant vibraphones.

The production on this album is fantastic (disregarding the fact that it's quite gritty and raw due to the technology available), it always seems very rich and dense and there are some very interesting delays and reverbs present which is a formidable achievement given the resources available to achieve those sounds back then.

Think Pink is a great little gem that's well worth investigating by any psychedelia fan, kraut fans will find something to enjoy here too.[@Progarchives]


LIBERTAD DE EXPRESIÓN


Quizás no sepan, pero yo siempre estoy a favor de que la gente se exprese porque sé que es algo bueno. Aunque también es un arma de doble filo. Si no sabes lo que queres decir y lo que que decís es un despropósito de la comunicación humana obviamente la libertad de expresión te jugó en contra.

Claro está, que toda el mundo merece tener una opinión pero el problema es que la de algunos puede ser muy pelotuda.

Pero la pregunta que se puede hacer cualquiera es ¿Cuándo se está por decir una pelotudez?

Bueno, no es muy difícil verificar este carácter de suma importancia. Solo deben usar la masa encefálica que les dio la naturaleza y ahorrarse la narcisista necesidad de hablar cuando nadie le pidió comentario alguno. Solo escuchar y aprovechar ese momento para pensar. Cosa que no siempre hago.

Sí, acá no vengo a hacerme el distinto, soy humano como todos ustedes -aunque a veces no lo quiera- soy como ustedes.


bueno, para todos aquellos piensan y hacen sin pensar

FUCK YOU

Jane (1978)- Age Of Madness [Great Deutsch Rock]

"Age of Madness" has all the traits of a band on autopilot - no truly outstanding songs, mostly shorter material, repetition of simple motifs beyond their usefulness, overall brief running time, etc. After the almost uniformly adventurous and convincing "Between Heaven and Hell", given the lateness of the hour for such epic material, a disappointment was inevitable.

Yet in the case of Jane, "Age of Madness" also played to their strengths. Their ability to stick doggedly to a simplistic yet catchy theme and plod along with slight variations was without peer in the German scene and beyond. It also strangely fits with the theme of madness, when one is unable to completely escape the infinite loops and disconnected circuits in one's brain. The title cut here is such an example, spacey, textural and hypnotic. "Memory Symphony" is similar, but more symphonic, with string synth sounds galore. The marriage of Jane's trademark psychedelia with country and western motifs in "Love Song" even shows a willingness to break new ground; even if this may have been commercially motivated, it doesn't seem like compromise. For a heavier repeating loop, try "Bad Game" - again, Jane takes a riff where it has gone before, again and again, and does it better than anyone, thanks to Hess and Wieczorke, amply backed by the rhythm section.

"With Your Smile" is perhaps the best thing here, kicking off mid-song and highlighted by some of Hess' best work and a near danceable beat. It is the ultimate expression of Jane's paradoxical blend of professionalism and amateurism.

On the negative side, "Get this Power" combine the worst of all eras of Jane, and must have sounded laughably retro even in 1978, and "Auroville" fails to inspire in spite of a similar formula to the album's successes. Nevertheless, as an overall collection, this late stage album has the temperament to outlive the vicissitudes of its age. 3.5 stars rounded up. [@Progarchives]


Studio Album, released in 1978



Songs / Tracks Listing

1. Age of madness (5:45)
2. Memory symphony (4:25)
3. Auroville (3:40)
4. Love song (3:53)
5. Bad game (5:14)
6. Get this power (2:40)
7. With her smile (4:20)
8. Meadow (3:27)
9. Age of madness (part II) (2:39)


Line-up / Musicians

Klaus Hess / guitars, vocals
Martin Hesse / bass, vocals
Peter Panka / drums, percussion, vocals
Manfred Wieczorke / keyboards, vocals


DESCARGA


4 de noviembre de 2009

High tide (1969)- Sea Shanties [UK Heavy Prog]


One of the most important underground hard rock band from Britain and also a very influential group , although they never managed much commercial success. Their sound in their two historical album can be likened to BLUE CHEER or STEPPENWOLF ( but with lenghty improvisations in some tracks) and is sometimes mentioned as one of the first example of Heavy Metal music , some progheads on this site even going as far as citing them as the grandfather of Prog Metal.

The Original line-up was a quartet consisting of a superb singing guitarist , A violinist sometimes playing KBs and a good rhythm section. After the second album's release , their drummer left for health reason , and HIGH TIDE did not release another album for some 18 years although they still recorded aopparently fairly regularly with an unstable permanent line-up with Tomlin, Theaker , House and Pavli coming and going almost at will, the only mainstay being Tony Hill. Starting in 88, they will release seven records in a span of three yearts , very confused affairs with tracks from all those lost years appearing on different records and no clear recording dates given. Apparently they played together until 1990 , and their latest release is yet another mixed-bag of tracks from all eras released on Black Widow label in 98, but with recording dates at last clearly mentioned .

HIGH TIDE is a highly influential underground band likely to please all Prog Metal fans looking for roots of their beloved music style. [@Progarchives]


Studio Album, released in 1969


Songs / Tracks Listing

1. Futilist's Lament (5:17)
2. Death Warmed Up (9:08)
3. Pushed, But Not Forgotten (4:43)
4. Walkin Down Their Outlook (4:58)
5. Missing Out (9:38)
6. Nowhere (5:54)


Line-up / Musicians

- Roger Hadden / drums
- Tony Hill / guitar, vocals
- Simon House / violin, programming, piano
- Peter Pavli / bass


DESCARGA


It's most probably true that SEA SHANTIES was the very first Prog-Metal album. Actually before 1970 I can recall only bands like DEEP PURPLE, CREAM or BLUE CHEER, but none of them playing that heavy nor progressive in a way. MC5's "Kick Out The Jams" from the same year was probably the very first Metal album in general, but they didn't play progressive at all. Nevertheless just for that reason alone I'm hesitating to call it a masterpiece.

Futilist's Lament and Death Warmed Up are really a true devil's ride with extremely amped guitar and violin. At times HAWKWIND is coming to my mind. Quite heavy stuff, but for my ears and listening habits becoming a bit too monotonous and noisy after a while (the same problem I have with the heavy stuff of the mentioned band). A rather huge contrast when third track Pushed, But Not Forgotten is starting even very mellow, soon after amps are switched on again, but on this one the music is much different from before and of much bigger quality and versatility. Especially here and as well in Walkin Down Their Outlook in the more quiet sections Tony Hill's vocals remind very much to those of Jim Morrison. The violin is sounding in these and in the following tracks much better and less distorted than in the first two. Missing Out reminds a bit to CREAM at least in the beginning before violin comes in. The longest track of the album is a very heavy and very interesting versatile one as well. Nowhere is a bit less heavy featuring again nice vocals reminiscent of THE DOORS.

HIGH TIDE's debut is for sure one of the best Proto-Prog albums released. Maybe I wouldn't call it necessarily a masterpiece, since I'm usually careful with my 5- stars ratings, but anyway together with their second one

an excellent addition to any prog collection! [@Progarchives]


3 de noviembre de 2009

Collegium Musicum (1973)- Live [Slovakia - Symphonic Prog]

This band is an historical band in Czechoslovakia. They was active from 1971 until 1981 with 6 releases plus one live lp. Their style is like ELP with Wakeman, The NICE and clear classical influences. The band was composed by vocals, guitars (Ludovít Nosko); keyboards (Marián Varga); guitars (Karel Witz); bass (Fedor Freso) and drums (Dusan Hájek).

The lp always contain long tracks all composed by Varga that give to compositions solid classical inspirations an example is "Hommage a J.S. Bach" or "Concerto in D" and other tracks, the guitar have much space supported by superb keyboards (hammond, minimoog, piano, spinetta) base and solos. I support people who think this is one of the best east Europe bands of ever.[@Progarchives]

Live, released in 1973


Songs / Tracks Listing

1. Burleska ~ Burlesque (11:01)
2. Si nemozná ~ You are impossible Part 1 (8:54)
3. Si nemozná ~ You are impossible Part 2 (8:01)
4. Monumento ~ Monument (14:42)


Line-up / Musicians

Marián Varga / organ
- Fedor Freso / bass guitar
- Dusan Hájek / drums


DESCARGA


Welcome back my friends, to the show that never ends, ladies and gentlemen .. COLLEGIUM MUSICUM!! After a few minutes listening to their music (live recordings from 1973) I had almost made this review because it's so obvious derived from early ELP ("Pictures .."-era): an omnipresence of the powerful Hammond organ (bombastic floods and flashy runs), a propulsive, metallic sounding bass and fluent drumming. The band plays less virtuosic and less fiery but they sound tight and inspired, these are good musicians who enjoy themselves and please their crowd. Only the drum solo sounds a bit boring but in those days every drummer got the opportunity to shows his skills! A fine album for Hammond aficionados. [@Progarchives]

May Blitz (1971)- The 2nd of May [UK Heavy Prog]


The 1971 follow-up to "May Blitz", "The 2nd of May" featured similarly grotesque artwork on the cover and contained eight excellent tracks, but sold poorly, probably due to lack of air play.

The album kicks off with "For Mad Men Only", with a heavy fuzzy power chord guitar and driving beat, it contains some great riffs and solos, certainly a sign of things to come as they are similar to bands such as Black Sabbath. This track also reminds me of the typical heavy sound from UK underground Psyche/Space rock band "Stray". The style of vocals in "Snakes and Ladders" sounds reminiscent of Hendrix, has a strong bass line, fuzz power chords which sound very Black Sabbath indeed. There are echoed backing vocals and "space" effects swirling around, now we're in Hawkwind territory! "The 25th of December" as you'd guess is a Christmas song which swings along beautifully, occasionally leading into whispered vocals and a jazzy style rhythm and bluesy guitar. "In Part" is a jazzy style number which has a flute playing in the background, funny thing the vocals are half sung half spoken, almost rap-like, which leads into a fine drum solo. I don't care what anyone says, i love 'em!! The next track on the cd is called "8 Mad Grim Nits", not sure who they refer to but it is a crazy fast jazzy jam featuring very fast drum and bass playing and some wild fuzzy, phased over- amped lead guitar, really sounds like they had a lot of fun doing this one! Here's another group i would have loved to have seen live. "High Beech" is a beautiful folky song overlaid with watery acoustic guitars and nice lyrics, "shadows spring to life", "today is the beginning of the rest of our lives". "Honey Coloured Time" is another beautiful song about our hypocritical world with hushed vocals, which includes some fine jazz style guitar and bass and a Hendrix style ending, talk about mixing styles. "Just Thinking" is a ponderous, dreamy love song, very laid back, and features some interesting echoed "squeaky" guitar effects.

I enjoy listening to this album very much and it's a shame May Blitz didn't do more after they were dropped from Vertigo. James Black and Reid Hudson returned to Canada and Tony Newman went on to work with such artists as Three Man Army, Marc Bolan, David Bowie & Mick Ronson, Chris Spedding and David Coverdale's Whitesnake. IMO an essential addition to any Prog/Space/Psyche collection. [@Progarchives]


Studio Album, released in 1971


Songs / Tracks Listing

1. For Mad Men Only (4:16)
2. Snakes And Ladders (4:42)
3. The 25Th Of December 1969 (3:12)
4. In Part (6:10)
5. 8 Mad Grim Nits (4:33)
6. High Beech (5:02)
7. Honey Coloured Time (4:13)
8. Just Thinking (5:12)


Line-up / Musicians

James Black / lead vocals, guitar
- Reid Hudson / bass
- Tony Newman / drums


DESCARGA


Password -> sakalli


May Blitz (1970)- May Blitz [Heavy Progressive UK]


MAY BLITZ were formed by vocalist/guitarist Jamie Black who recruited Tony Newman on drums, (ex Sounds Incorporated and Jeff Beck Group), and Reid Hudson (bass, vocals) in 1969. The original lineup featured bassist Terry Poole and drummer Keith Baker, from Bakerloo, but both left before recording anything for the band. Baker had a better offer from Uriah Heep, and went to record "Salisbury" with the band.

The band survived long enough to record two incredibly heavy, powerful and psychedelic albums with strong blues undertones and progressive tendencies, despite the lack of keyboards. These were released on Vertigo, who we also associate with Black Sabbath and Uriah Heep - but the music is probably heavier than either. Their style comes in somewhere around High Tide and the Pink Fairies - but these are really ballparks.

Their debut album is a must-hear for anyone curious about the development of heavy music, and features a production in which it is not only almost possible to smell the ganja smoke, but is also rich and clear enough to provide the striking dynamic contrasts the music needs, as it occasionally veers from ambience to crushing riffs in the blink of an eye. It is certainly very unpredictable, even now. [@Progarchives]


Studio Album, released in 1970


Songs / Tracks Listing

1. Smoking the Day Away (8:19)
2. I Don't Know? (4.52)
3. Dreaming (6:40)
4. Squeet (6:51)
5. Tomorrow May Come (4:47)
6. Fire Queen (4:14)
7. Virgin Waters (6:56)


Line-up / Musicians

James Black / lead vocals, guitar
- Reid Hudson / bass
- Tony Newman / drum


DESCARGA


Oh my, this album is a storming 'Progressive' rarity that features NO keyboards what-so-ever, quite unusual, truth be told (not that the 'keyboard' is the be-all and end-all of all Prog-Rock.....) MAY BLITZ was a not-so-average 3-piece, harder-edged band, simply consisting of a marvellous Guitarist in James Black, and a solid 'backbone' of Bassist Reid Hudson and Drummer/Percussionist Tony Newman. All musicians display a quite adventurous zeal on their respective instruments and their creativeness holds no boundaries to their song- writing. Admittedly, it's taken some years for me to get around to the band, and I have to say that I'm quite impressed with what I hear (if only I discovered them around 1989/90, back when I ........) anyway, here we have something that could be considered as a basic Blues-based band, but their seasoned musicianship and colourful arrangements stretch out further than many of their contemporaries. The album (now a seldomly obtainable record that was originally released on the famed 'Vertigo' label, lovingly re-issued by the amazing Italian vinyl specialists, AKARMA) features the original 7 tracks that offer the listener a surprising insight to what this inspired group of professional musicians can achieve within their simplistic, 3 piece format. The opening piece, the 8 min+ 'Smoking The Day Away' makes me wish I was (ho ho). It's a totally blowing piece of guitar-heavy music, superb riffs, great singing (in a Jack Bruce kinda way) with the rhythm section supplying a constantly changing backdrop for Mr Black to demonstrate his chops - indeed, the middle section displays some of the finest acoustic-guitar playing I've heard for a long time. The album also shows off some early-morning 'descending mood' moments (as I recall them.....) with 'Tomorrow May Come' and 'Virgin Waters', which are great mellow-out tracks. 'Squeet' is very impressive, too - Reid Hudson absolutely cooks on the Bass-Guitar. I'm inclined to give this fantastic album a 5, but I'm aware that many folks will find its contents less than enthralling - so, a strong 4.5 stars feels adequate - not really a weak moment throughout. Please discover this under-rated gem. [@Progarchives]

31 de octubre de 2009

Jimi Hendrix - South Saturn Delta [320 Kbps]


01. Look Over Yonder
02. Little Wing
03. Here He Comes (lover Man)
04. South Saturn Delta
05. Power Of Soul
06. Message To The Universe (message To Love)
07. Tax Free
08. All Along The Watchtower
09. Stars That Play With Laughing Sam's Dice
10. Midnight
11. Sweet Angel (angel)
12. Bleeding Heart
13. Pali Gap
14. Drifter's Escape
15. Midnight Lightning


DESCARGA

Santana - Live At The Fillmore '68 (1997) [2CDs]

Santana Live at the Fillmore is a live album by Santana, recorded between December 19 and December 22, 1968 and released in 1997.

AC rip (secure mode) | FLAC+CUE+LOG -> 658 Mb | MP3 @320 -> 233 Mb
Full Artwork @ 300 dpi (jpg) -> 33 Mb
© 1997 Sony Music / Columbia / Legacy | C2K 64860



CD1
1. Jingo
2. Persuasion
3. Treat
4. Chunk a Funk
5. Fried Neckbones
6. Conquistadore Rides Again

CD2
1. Soul Sacrifice
2. As the Years Go Passing By
3. Freeway


LINE-UP:

Carlos Santana - Guitar, Vocals
Gregg Rolie - Organ, Piano, Vocals
David Brown - Bass
Bob Livingston - Drums
Marcus Malone - Congas


DESCARGA


Almendra (1970)- Almendra 2


DISCO 1
01-Toma El Tren Hacia El Sur
02-Jingle
03-No Tengo Idea
04-Camino Dificil
05-Rutas Argentinas
06-Vete De Mi, Cuervo Negro
07-Aire De Amor
08-Mestizo
09-Agnus Dei
10-Para Ir

DISCO 2
01-Parvas
02-Cometa Azul
03-Florecen Los Nardos
04-Carmen
05-Obertura
06-Amor De Aire
07-Verde Llano
08-Leves Instrucciones
09-Los Elefantes
10-Un Pajaro Te Sostiene
11-En Las Cupulas
12-Instrumental


LINE-UP:

Edelmiro Molinari: Guitarra Y Coros
Emilio Del Guercio: Bajo Y Coros
Luis Alberto Spinetta: Guitarra Y Voz
Rodolfo Garcia: Batería



DESCARGA

Almendra (1969 )- Almendra


01-Muchacha (Ojos De Papel)
02-Figuracion
03-Ana No Duerme
04-Fermin
05-Plegaria Para Un Niño Dormido
06-A Estos Hombres Tristes
07-Laura Va
08-Color Humano
09-Que El Viento Borro Tus Manos


LINE-UP:

Edelmiro Molinari: Guitarra Y Coros
Emilio Del Guercio: Bajo Y Coros
Luis Alberto Spinetta: Guitarra Y Voz
Rodolfo Garcia: Batería


DESCARGA

Traffic - 1970-06-26 - Port Chester

1970-06-26
Capitol Theater
Port Chester, NY


01. Tuning
02. Scott Muni Intro
03. Who Knows What Tomorrow May Bring
04. Every Mother's Son
05. Medicated Goo
06. John Barleycorn
07. Pearly Queen
08. Stranger To Himself
09. Empty Pages
10. 40,000 Headmen
11. Freedom Rider
12. Feelin' Good
13. No Time To Live


http://lix.in/-629ce8
http://lix.in/-642389

Traffic - 1971-10-14 - Boston

1971-10-14
Boston Music Hall
Boston, MA


01. Medicated Goo
02. Light Up
03. Glad
04. Freedom Rider
05. Hidden Treasure
06. John Barleycorn
07. Rock 'n' Roll Stew
08. Many a Mile to Freedom
09. Low Spark of High Heeled Boys
10. Gimme Some Lovin'

http://lix.in/-5afbcd
http://lix.in/-5c826e

Traffic - 1971-10-07 - Chicago

1971-10-07
Arie Crown Auditorium
Chicago

01. Medicated Goo
02. Light Up or Leave Me Alone
03. Glad / Freedom Rider
04. Hidden Treasure
05. John Barleycorn
06. Rock 'n' Roll Stew
07. Low Spark of High Heeled Boys
08. 40,000 Headmen
09. Many a Mile to Freedom
10. Dear Mr. Fantsy
11. Gimme Some Lovin'

http://lix.in/-65aa2a
http://lix.in/-57ee8b
http://lix.in/-59752c

30 de octubre de 2009

Motörhead - Roseland Ballroom NYC Sept 9 2009

Roseland Ballroom NYC NY
Sept 9 2009
Sonido de Audiencia


01 Intro Eddie Trunk/ Don Jameson
02 Iron Fist
03 Stay Clean
04 Be My Baby
04 Rock Out
06 Metropolis
07 Over The Top
08 One Night Stand
09 I Got Mine
10 The Thousand Names Of God
11 Another Perfect Day
12 In The Name Of Tragedy- Drum Solo
13 Just ‘Cos You Got The Power
14 Going To Brazil
15 Killed By Death
16 Bomber
Encore:
17 Whorehouse Blues
18 Ace Of Spades
19 Overkill


LINE-UP:

Lemmy Kilmister BASS/VOCALS
Phil Campbell GUITAR
Matt Sorum DRUMS


Deep Purple (1970)- Made In Germany (Audience Complete Recording 11Th July ´70)


Deep Purple - Made In Germany
Recorded Live at Reitstadion, Aachen, Germany in July 11, 1970
Audience Recording
Complete Show


TRACKS

01. Introduction [1:41]
02. Wring That Neck (Blackmore/Lord/Simper/Paice) [17:55]
03. Paint It Black (Jagger/Richards) [11:00]
04. Introduction [1:08]
05. Mandrake Root (Blackmore/Evans/Lord) [32:10]
06. Black Night (Blackmore/Gillan/Glover/Lord/Paice) [5:38]


CREDITS

MK2a
Ian Gillan (Vocals)
Jon Lord (Keyboards)
Ritchie Blackmore (Guitars)
Ian Paice (Drums)
Roger Glover (Bass)



Reseña:
Gabriel Gonzalez
[@PURPLE PEOPLE
: Noviembre 2001 - Nº 10]

Personalmente valoro muchísimo a los lanzamientos como el que hoy nos toca.
Hace alrededor de tres años, me había sobre interesado la información de que un grupo de fans (entre ellos estaba Simon Robinson planeaban hacer en ediciones en CD a los viejos piratas en vinilo (y algunos otros que comúnmente circularon como cintas).
Obviamente, al hablar de esto, lo hacíamos pensando en un ítem con un booklet conteniendo muy buena info, fotografías y lo fundamental, la calidad sonora lograda a través de la restauración del original.
En todo ese tiempo vi aparecer tanto material ridículo que me hizo pensar que aquel proyecto no iba a suceder jamás. Ahora bien, finalmente hubo alguien más con quien compartimos los mismos objetivos a pesar de la distancia.
Existe el caso de que todo lo que no se editó en los setenta está viendo la luz en la actualidad. Quizás lo más sobresaliente sean los piratas que presentan alguna particularidad en setlist, lo que sin duda le da el carácter de especial. Observando como se lanzan al mercado púrpura los box de shows en vivo, creo mucho más valiosa la opción de editar todo los setenta, p lo que fueron los Purple originales, la época de oro de la banda.
Discrepo con la pura faz comercial de las apariciones de los box live. Como les he dicho a muchos de ustedes, espero que en cualquier momento salga el concierto box y/o El Don Airey Collection. Ambos podrán contener material interesante pero jamás estarán a la altura del viejo Purple.
Otra cosa que ronda sobre todo este asunto es el por qué no han sido editados las postreras ediciones Deep Purple en formato vinilo (me refiero estrictamente a lo oficial). Ya que la premisa parece ser "vendamos algo", la falta de visión para ubicar material entre los coleccionistas del vinilo es más asombrosa. No podemos olvidarnos de esto si es que el plan es solamente "editar". El ignorar a "Come Hell or High Water", "Purpendicular", "Live At the Olympia", el "RAH" y, a pesar de todo, "Abandon", es decir todo el material oficial tras la salida de Ritchie Blackmore el cual no se ha visto en formato del plástico negro, representa una oportunidad única para ponerse al día y ofrecer material realmente interesante y sin lugar a dudas coleccionable.
Creo que el Sr. Robinson debería tomar cartas en este asunto. Tantas veces he dicho que no tiene ningún valor lanzar al mercado un box conteniendo seis piratas post reunión (inclusive ya editados) o si no como el último aparecido, con shows novísimos, siendo que potencialmente existe una impresionante veta de material sumamente apreciable para el ávido Purple Collector. Y como tal tenemos a las versiones en vinilo ya mencionadas y a los piratas en los setenta, los ya editados anteriormente por los sellos independientes o los que aun van de mano en mano en casetes o CDS.
Y es precisamente a todo esto que viene "Sonic Zoom Live Recordings", iniciando la seria con el presente Aachen 1970. La idea fue hacer una especie de réplica del vinilo pero en CD, algo a lo que estamos acostumbrados con las varias versiones en CD de los lps originales y otras cajas de piratas. Con la elección de la tapa de uno de los tantos "Aachen", le tocó a Space Vol. 1 y 2 (la primera), nos sumergimos en el 11 de julio de 1970, no sin antes revisar mejor la gráfica (en digipack) sobre cartón rústico e impreso en los colores originales. No solo la música merece el comentario sino además el valiosísimo booklet, uno de los más amenos que ha realizado el colega Simon Robinson. Alguien podrá decir que carece de fotografías (posee solo una de Blackmore pero deben recalar especialmente el texto. La info que Simon reproduce es de primerísimo nivel para quien deseé conocer a fondo los pormenores acontecidos en esa época, y las situaciones que circulaban a los Purple y al mundo que los rodeaba.
Absolutamente invaluables resultan ser las réplicas de las listas de piratas, las noticias de la actualidad alemana y su incidencia hasta el nombre del pirata (H bomb), la historia misma que redacta Simon Robinson acerca de aquellas legendarias ediciones "live" en vinilo. También reproduce las diferentes tapas de Space en sus reediciones posteriores, y aun deja lugar para aclarar algunos raros detalles relativos a las grabaciones y las variadas tomas de esas ediciones (recordemos que el estudio de grabación de Aachen fue un sólido "escarabajo" -un Volkswagen-, dicen que detrás del escenario). Estos lanzamientos son los que realmente deber ser valorados. Creo que muchos ya conocerán el set de Aachen 70. No hallaran grandes mejoras en cuanto a la calidad sonora con respecto a los viejos piratas sino solamente un sobrio equilibrio y algo más de claridad, lo que se supone que todo lanzamiento de esta índole tenderá a presentar.
No hace falta entrar demasiado en detalle sobre el setlist: solo con "Wring that neck", "Black Night", "Paint it Black" y "Mandrake Root", con sus respectivos -¡Brillantes!- solos, profusas improvisaciones, poderosos intermisos, extensos pasajes instrumentales, en fin, nada de desperdicios.
Aachen 70 representó a la época en bruto de Deep Purple, allí donde todo estaba permitido y un real gran poder confluía en la totalidad de la banda. Así como jamás hubo otro Made In Japan, tampoco existió otra gira como la de 1970, que permitiese las tan particulares improvisaciones y vital crudeza de aquellas añoradas performances. Sin ninguna duda que se pueden apreciar tales caracteres en los 70 y Aachen es uno de los más fieles y valiosos documentos de que eso es realidad.
De sistematizar un catálogo de estas características, Simon Robinson está en el camino correcto; ese que todo fan de Deep Purple desea transitar, y que es volver a la época de oro llevado de la mano de estos discos invaluables. Realmente es el mejor gusto nos podemos dar para continuar probando la banda.


COMENTARIO AL MARGEN

Agrego otra versión de este show pero esta vez de un pirata solo para esos coleccionistas enfermos púrpuras que todos llevamos dentro.



Steel Mill (1971)- Green Eyed God [UK Heavy Prog]

Steel Mill is an obscure English band that released only one album of fairly heavy rock with a few progressive touches. Musically, Steel Mill has similarities to bands such as Blodwyn Pig, Golden Earring, the Free, Fleetwood Mac, and the heavier side of early Jade Warrior. The album features great aggressive guitar playing, good vocals, and some wild pounding drumming. The longer tracks include extended instrumental sections for guitar, sax, and flute. For example, the ten-minute title track is rather typical for the music heard on the album: it starts with dreamy flute playing and a thumping drum. Slowly, guitar and vocals are added. Here they sound very much like Fleetwood Mac at the time that Peter Green was in the band. After a few minutes a heavy guitar riff sets in (think of early 70's heavy Golden Earring) and next a scorching lead guitar solo follows. A long section with guitar and saxophone riffing follows. The track ends with a coda for flute and drums. Altogether, I found Green Eyed God a pleasant album. It's worth checking out if you like this particular type of heavy guitar rock. [@oldishpsychprog]


Studio Album, released in 1972


Songs / Tracks Listing

1. Blood Runs Deep (5:19)
2. Summers Child (4:24)
3. Majo and the Laying of the Witch (7:52)
4. Treadmil (4:00)
5. Green Eyed God (9:51)
6. Turn the Page Over (3:56)
7. Black Jewel of the Forest (6:13)
8. Har Fleur (0:45)
9. Zang Will (3:43)


Line-up / Musicians

- John Challenger / woodwinds
- Chris Martin / drums
- Dave Morris / keyboards, vocals
- Jeff Watts / bass
- Terry Williams / guitar



DESCARGA

APE - COVERS - 248.42 MB


The history of STEEL MILL is shrouded in mystery. I can do little here but relate extracts from the liner notes from the 1994 CD re-release of their one and only album, "Green Eyed God". These were written by Mark Brennan, who documented his efforts to find out some background information on the band thus:

"I first spoke to producer John Schroder who recalled the band's name and the fact that the LP was recorded at London's De Lane Lea studios, but other than that he had no recollection of the album.

Larry Page, the legendary producer/manager who owned Penny Farthing records who released (the two singles and one album by the band) could not recall a thing about Steel Mill.

Jeff Wilkins who worked for Lovigny Marquee the production company who signed Steel Mill, also proved to have little recollection of the band or the whereabouts (of the members).

The British Musicians Union had no record of any of the members, and even the normally reliable collectors shops knew of their releases, but not their history."

The sleeve notes end with appeal for any information to be forwarded to the author at Repertiore Records![@Progarchives]


Bloodrock (1970)- Bloodrock [US Hard Rock]


Bloodrock initially formed in Ft. Worth, TX in 1963 under the name The Naturals. This first lineup featured Jim Rutledge (b. January 24, 1947) – drums/vocals, Nick Taylor – guitar/vocals, Ed Grundy(b. March 10, 1948) – bass/vocals, and Dean Parks – guitar. They released their first single in 1965 “Hey Girl” b/w “I Want You”(Rebel MME 1003). Shortly thereafter they changed their name to Crowd + 1 and released three more singles: “Mary Ann Regrets” b/w "Whatcha Tryin’ to Do to Me"(BOX 6604), "Don’t Hold Back" b/w "Try," and "Circles" b/w “Most Peculiar Things.”

In 1967 Parks left Crowd +1 to become the musical director for the Sonny & Cher Show (the beginning of a long career as a session musician). He was replaced by Lee Pickens (b. 12-08-??) – guitar. It was also at this time that Stevie Hill (b. Tulsa, OK) – keyboards/vocals joined the group. They continued as Crowd + 1 until 1969 when they changed their name to Bloodrock. They also recorded their first album the Terry Knight produced Bloodrock (ST-435). The album peaked at 160 on the Billboard Pop Albums Chart in 1970.

In 1970 Rutledge moved from behind the drum set to take on lead vocal duties exclusively. Rick Cobb (b. James Richard Cobb III) took over the percussive duties and added his voice to the group as well. This lineup recorded their next four albums: Bloodrock 2 (ST-491), Bloodrock 3 (ST-765), Bloodrock USA (SMAS 645), and Bloodrock Live (SVBB-11038).[@Wikipedia]

1. Gotta Find a Way
2. Castle of Thought
3. Fatback
4. Double Cross
5. Timepiece
6. Wicked Truth
7. Gimme Your Head
8. Fantastic Piece of Architecture
9. Melvin Laid an Egg

LINE-UP:

Jim Rutledge – bateria y voz
Lee Pickens – guitarra y voz
Mick Taylor – guitarra y voz
Eddie Grundy – bajo y voz
Stevie Hill – organo y voz


DESCARGA


The song "Gotta Find a Way" contains one of the earliest instances of backmasking. Near the beginning of the song, the following message is played backwards, "Anyone who is stupid enough to play this record backwards deserves what he is about to hear," followed by an excerpt from the poem Jabberwocky.


Bang (1972)- Mother/ Bow to the King [US Hard Rock]

As heavy 70's slabs go, this band rates pretty high. They had a slightly more cleaned up Sabbath style sound, that on this album resembles more what Ozzy and company would be doing in the mid 70's. Not a smooth ride all the way through (skip the awful cover of "No Sugar Tonight") but side one is mighty solid. [@orexisofdeath]


1 Mother 4:24
2 Humble 4:44
3 Keep On 3:40
4 Idealist Realist 4:31
5 No Sugar Tonight 2:38
6 Feel the Hurt 5:19
7 Tomorrow 3:05
8 Bow to the King 5:39

LINE-UP:

Frank Ferrara - bass, vocals
Frank Glicken - guitar, vocals
Duris Maxwell - drums
Jeffrey Cheen - percusion
Bruce Gary - drums

Focus (1970)- In and out of Focus [Netherlands Prog Rock]


Of all the groups in the 1970s that combined elements of rock and classical music, FOCUS is, without a doubt, the most notable Dutch group widely known outside the Netherlands. This band has created excitement all over the world during the past few years with their unique sound and musical approach. The two main musicians in the band were flutist/keyboardist/singer Thjis Van LEER and guitarist Jan AKKERMAN. They played a stylishly inventive rock with flutes, keyboards & dazzling guitar, defining the Dutch prog sound. An inspiration to FINCH, TRACE & numerous others. In 1978, the group finally split up, without making too much noise.

Best albums are "Moving Waves" (1972), "3" (1973), "Live at the Rainbow" (1973), and "Hamburger Concerto" (1974). "Waves" and "3" represent the best of the band's earlier intensely progressive period with plenty of sidelong tracks and healthly extended solos. Most will agree that "Live at the Rainbow" and "Hamburger Concerto" (last good album) were their best, moving into a period of more pure classical and jazz influence.

"Focus 8" marks the return of Thjis Van LEER in the true nature of music: tuneful, memorable and a little bit rocky when they want to be. This album contains everything you might want from a FOCUS album ... plenty of flute and keyboards from Thijs, tasty guitar playing from Jan DUMÉE and even some yodeling vocals. Perhaps in summary, the band could have veered a little from the safety of the FOCUS blueprint but "Focus 9" may yet further develop their own voice. No doubt about it, we'll have to count on FOCUS in the new millennium to all of the true Progressive Rock lovers.[@Progarchives]


Studio Album, released in 1970



Songs / Tracks Listing


Side 1

1. Focus (vocal) (2:44)
2. Black beauty (3:05)
3. Sugar island (3:03)
4. Anonymous (7:00)
5. House of the king (2:20)

Side 2

6. Happy nightmare (mescaline) (3:56)
7. Why dream (3:57)
8. Focus (instrumental) (9:45)


Line-up / Musicians

- Jan Akkerman / guitars
- Hans Cleuver / drums
- Martijn Dresden / bass
- Thijs van Leer / vocals, keyboards, flute


DESCARGA


This is Dutch progressive rock. The keyboards are basic: mostly organ and piano. Some songs are more catchy and accessible with very good lead and backing vocals ("Black Beauty", "Sugar Island"). Other songs are more instrumental, with tons of drums and flute through fast bass and electric guitar rythms. For instance, "House of the King" has a melodic flute that steals the show in front of rythmic patterns (It is similar to the JETHRO TULL of the 70's). The instrumental FOCUS is full of good piano, organ, elaborated drums and electric guitar high notes that are even a bit romantic and rythm changing. [@Progarchives]


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