quality: lossless (flac, cue, log, covers)
time: 31'53" size: 180 mb
The second album by singer Colin Blunstone, former member of British rock band The Zombies. It was released in 1972 (see 1972 in music). The lead-off single "I Don't Believe in Miracles" b/w "I've Always Had You" peaked at number 31 and "How Could We Dare to Be Wrong" b/w "Time's Running Out" reached number 45 in the UK.
As with Blunstone's 1971 debut One Year, Ennismore was produced by Rod Argent and Chris White and most of the songs were backed by Argent's band Argent.
Robin Platts of Allmusic wrote: "Opinions differ as to which of the two is Blunstone's best album, but both One Year and Ennismore are consistently strong records and are bound to please anyone who has enjoyed Colin's work with the Zombies."[
quality: lossless (flac, cue, log, covers)
time: 34'12" size: 246 mb
Fuzz Acid & Flowers:
Their first album is rare and came out on a Texas label 'though they hailed from New Port Richey, Florida, and had earlier recorded as The Split Ends. It's basically hard rock with some psychedelic guitar work. Their second album is rather mundane heavy rock.
Jim O'Brock recalls: "Circa 1969 We changed names from The Split Ends to B.O.O.T, an anacronym for 'Blues Of Our Time'. We began playing 80% to 90% original material and began traveling more, playing larger venues. We played with Canned Heat, B.B. King, Neil Diamond, Detroit Wheels, etc. and at the Atlanta Pop Festival and Miami II Pop Festivals. Once we competed with the Allman Brothers in a contest at the University of Florida and won first prize! In Atlanta, Georgia we played with Lynyrd Skynyrd (they opened for us!) and stayed on the road for about four years. During this time we recorded our two albums in Nashville, Tn.
"We seemed to stagnate about that time. I left the band and it broke up. A couple of years later, Mike and Bruce tried to resurrect the name with a couple of new guys, but it didn't last long". ~ (Clark Faville/Max Waller/Susie Martin-Rott w/thanks to Jim O'Brock)
There is no shortage of collections of archive material by the Soft Machine and some of them are pretty good. You just can't beat BBC recordings for good sound quality and meaningful "alternate versions." This first volume covers the group's early years up to the departure of drummer Robert Wyatt, starting with a session from December 1967, when the Softs consisted of Kevin Ayers, Mike Ratledge, and Wyatt. Early demo and live versions of dubious quality of "Clarence in Wonderland," "Certain Kind," or "Hope for Happiness" are in circulation (see Turns On, Vol. 1, for instance), but these recordings are far more superior. A session from 1969 features Wyatt, Ratledge, Hugh Hopper, and Brian Hopper in a torrid medley of "Facelift" and the "Mousetrap" suite, but the jewel of the first disc is indisputably a full-band rendition (Ratledge, Wyatt, and Hugh Hopper) of "Moon in June," one of very few times it was performed as such (the studio version was mostly put together by Wyatt overdubbing all parts). Disc two presents sessions from 1971 with Elton Dean added to the regular lineup. The last track is another "Mousetrap" sequence seguing into "Esther's Nose Job," performed by the short-lived septet lineup (with a brass section formed by Dean, Lyn Dobson, Marc Charig, and Nick Evans). This is the closest thing to a studio recording existing by this particular group and it is well-worth the price of admission. If you are a relative newcomer to the music of Soft Machine and are looking to expand beyond their studio releases, start here before moving on to more obscure live sets. ~ François Couture
Born Dennis Eugene McCrohan, he and his brother Jerry changed their surnames to Edmonton in the early 1960s. The brothers were part of a band called The Sparrows which later evolved into Steppenwolf. Another member of The Sparrows was Bruce Palmer, who later became a member of Buffalo Springfield.
Bonfire embarked on a solo career while his brother Jerry became the drummer for Steppenwolf. After leaving the band, he often collaborated with Kim Fowley, co-writing and recording on the recordings of Fowley and artists associated with Fowley.
Mars Bonfire's late-'60s material occasionally bears some resemblance to Steppenwolf, particularly in the use of heavy organs. But in fact this is certainly on the lighter and more pop-flecked side than Steppenwolf, which might both disappointment Steppenwolf fans who seek this out on the basis of the "Born to Be Wild" connection, and make this LP a rather pleasant surprise to those fearing bombastic late-'60s hard rock on the order of Steppenwolf's less impressive aspects. There is a version of "Born to Be Wild" here that is far tamer and less effective than Steppenwolf's hit cover. Yet on about half the album Bonfire favors a pretty airy pop-psychedelic approach (reminiscent of his "Tomorrow's Ship" composition on the single for pre-Steppenwolf outfit the Sparrow, written under his real name of Dennis Edmonton) to both his songwriting and arrangements. Bonfire has a thin, crackly voice that lacks force and precluded any significant success as a solo singer and band frontman, but does have a sincere and likable quality in spite of its limitations. "Lady Moon Walker" in particular is an overlooked psych-pop gem, with Bonfire's best deployment of attractive melodies, spacy lyrics, and pleasing keyboard textures. "In Christina's Arms" and "Sad Eyes" are also neat-o tender love songs with just enough unexpected melodic changes and oh-so-slightly trippy lyrics to make them more intriguing than the usual decent late-'60s pop/rock tune. When Bonfire tries to rock harder and get a little bluesy, the music becomes undistinguished, and sometimes downright boring. ~ Richie Unterberger
Fifth album shows Blue Cheer exploring a more psychedelic and laid‑back rock and roll with horn sections on a few of the songs. This album features a very unusual, and different, song for Blue Cheer: "Babaji (Twilight Raga)", which features extensive use of sitar and synthesizer. These instruments were only used one other time in the song "I'm the Light" on the album Oh! Pleasant Hope.
Side one "Good Times Are So Hard to Find" (Kent Housman / Norman Mayell) – 3:22
"Love of a Woman" (Dickie Peterson) – 4:35
"Make Me Laugh" (Ralph Burns Kellogg) – 5:06
"Pilot" (Gary R. Grelecki / Gary Yoder) – 4:49
"Babaji (Twilight Raga)" (Norman Mayell) – 3:46 (Instrumental)
Side two "Preacher" (Gary R. Grelecki / Gary Yoder) – 4:01
"Black Sun" (Gary R. Grelecki / Gary Yoder) – 3:31
"Tears in My Bed" (Ralph Burns Kellogg) – 2:06
"Man on the Run" (Dickie Peterson) – 3:58
"Sandwich" (Gary R. Grelecki / Gary Yoder) – 5:01
"Rest at Ease" (Gary R. Grelecki / Gary Yoder) – 5:35
Dickie Peterson – bass, guitar, lead vocals (tracks 2, 3, 9)
Gary Lee Yoder – guitar, harmonica, vocals, harp, lead vocals (tracks 1, 4–8, 10–11)
Ralph Burns Kellogg – organ, piano, synthesizer, bass
Norman Mayell – guitar, percussion, sitar, producer, drums
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