wikipedia:
The album features the final version of the Mothers of Invention, with George Duke, Chester Thompson, Ruth Underwood, Tom Fowler and Napoleon Murphy Brock.
The album features one of Zappa's most complex tracks, "Inca Roads". One of Zappa's heroes, Johnny "Guitar" Watson, guests on two tracks (flambe vocals on the out-choruses of "San Ber'dino" and "Andy").
01. Inca Roads 8:46
02. Can't Afford No Shoes 2:39
03. Sofa No. 1 2:39
04. Po-Jama People 7:39
05. Florentine Pogen 5:27
06. Evelyn, A Modified Dog 1:05
07. San Ber'dino 5:57
08. Andy 6:04
09. Sofa No. 2 2:42
wikipedia:
The second solo album by Roy Wood, who wrote and produced every track and painted the cartoon-style cover. It was completed and released about the same time as he disbanded his group Wizzard. He played all the instruments, and contributed all vocals apart from guest appearances by Annie Haslam, Phil Everly, ex-Move and Wizzard bassist Rick Price, and co-engineer Dick Plant.
"Look Thru’ The Eyes of a Fool" (1975) and "Any Old Time Will Do" (1976) were released as singles, though like the album, neither made the charts.
ProgArchives: Womega is an middle-seventies, one-off obscurity from Belgium. The core of the band were three brothers: Duk, Jen and Joss Vanlessen - Duk and Joss on guitars and Joss on bass. Paul Vrijens was on keyboards, he contributed in songwriting along with Vanlessen(s). The other memebers were Jos Bertrand on drums, Herman Merken on vocals; and Paul Peters on flute and brass instruments.
They managed to record their debut (and only album) in Acorn Studio, Oxford, UK. The album, titled "A Quick Step" was published in the winter of 1975. The album reveals a particular sound of the band: a progressive rock with elements of heavy rock, Canterbury, spiced up with folk overtones and jazz-rock attitude. Nice, melodical passages with guitar ans saxophone interplays, and dominating flute and Mellotron.
Such a qualites of WOMEGA's music are certainly Eclectic, and a worthy addition to every progressive rock collection. Recommended.
genre: hard
state: uk
quality: lossless (flac, cue, log, covers)
time: 37:01 size: 250 mb
wikipedia:
The sixth studio album by the rock band Wishbone Ash. Considered by many, including the band themselves, to be one of the weaker entries in their extensive catalog. The band frequently place the blame on producer Tom Dowd, who insisted the band play much quieter in the studio, removing much of the energy of their performances.
Crack in the Cosmic Egg:
Originating from Erlangen as a beat group in the mid-1960's, playing mainly at US air bases in Southern Germany. By 1969 (and after many name and personnel changes) they'd become the art-rock band Chromosom, heavily influenced by the American West Coast sound.
After the addition of Bernd "Steve" Leistner on vocals, and the new name Wind, they recorded their debut album for the new progressive arm of the budget label Miller, namely +Plus+. Seasons offered a richly textured progressive rock, lyrical yet also very musically involved, and certainly very Anglo-American inspired (hints of Vanilla Fudge notably), but with that German oddness typical of such bands. Their poetic and complexly crafted songs were filled with extensive instrumentals and unusual diversions. In recent years it's become hailed as a classic.
Although only a year later, Morning was a vastly inferior, rather straight rock 'n' soul album (the type favoured by CBS) with short songs and little adventurous musical involvement. Only a couple of tracks shone at all. Without gaining the commercial success that was obviously planned for, the band split in 1973. Lucky Schmidt unsuccessfully tried to resurrect the band in mid-1974, and thereafter went on to work with Aera.
wikipedia: The Tony Williams Lifetime was founded in 1969 as a power trio with John McLaughlin on electric guitar, and Larry Young (aka Khalid Yasin) on organ. The band was possibly named for Williams' debut album as a bandleader, Life Time, released on Blue Note in 1964. Its debut album was Emergency!, a double album released on Polydor/PolyGram Records in 1969. It was largely rejected by jazz listeners at the time of its release because of its heavy rock influences, but it is now looked upon as a fusion classic. Jack Bruce joined the group to provide bass and vocals on its second album, Turn it Over, released in 1970.
McLaughlin left the group and was replaced by Ted Dunbar on its 1971 album, Ego. This album also featured Ron Carter on bass and cello, Warren Smith and Don Alias on percussion, and Larry Young on organ. Lifetime gigs around this time featured Juini Booth on bass. Following Larry Young's departure from the band sometime after July 1972, Tony Williams was the only original member remaining.
Williams performed in August 1972 with a new brief-lived trio called Life Time Experience, featuring bassist Stanley Clarke and violinist Jean Luc-Ponty.
The fourth and last Lifetime album for Polydor/PolyGram, 1973's The Old Bum's Rush, was recorded in Boston and featured entirely new personnel consisting of female vocalist and guitarist Laura 'Tequila' Logan, Webster Lewis on organ & clavinet, David Horowitz on piano, vibes, and ARP synthesizer, and Herb Bushler on bass. Tony Williams' father Tillmon Williams makes a guest appearance on saxophone. Prior to recording, this lineup of the Lifetime performed material from the album on July 1, 1972 at Carnegie Hall in New York. Marking yet another stylistic departure for the Lifetime and reinvention of the band's musical identity, the record is characterized by a predominantly sprightly and upbeat songwriting approach, electronic keyboard-dominated sound, and jazzy female vocals. Recorded by Williams under the dark cloud of knowing that Polydor would not be renewing his contract the album received poor reviews and the group was effectively dissolved.
In 1974, Williams formed a new Lifetime featuring Bum's Rush holdovers Webster Lewis on keyboards and Laura 'Tequila' Logan on vocals, along with former Cream/Lifetime bassist Jack Bruce and British guitarist Allan Holdsworth. This lineup, sometimes referred to as Wildlife, recorded an album's worth of material at Europa Films Studios in Stockholm, Sweden in October 1974. This recording has never been officially released but circulates as a bootleg. ...
genre: heavy psych
state: us
quality: lossless (flac, cue, log, covers)
time: 40:00 size: 251 mb
AllMusic: Wilkinson Tri-Cycle's only album is similar to post-psychedelic heavy rock recordings by East Coast groups like Sir Lord Baltimore and Yesterday's Children in that they combine bluesy heavy rock with psychedelic flourishes, but the effect is largely unremarkable. The album is nonetheless treasured by European collectors, who reportedly command a high price for the LP. Highlights include their cover of Sleepy John Estes' "Leaving Trunk," popularized at the time by Taj Mahal, and the Beatlesque ballads "Poursha Poe" and the elegant "Yellow Wall." It was actually released on a little-known R&B subsidiary of CBS, Date Records. None of the band went on to any major success after the demise of the group. Perhaps the most interesting item of note is that this was one of many albums produced by writers/producers Warren Schatz and Stephen Schlaks at Associated Recording Studios in New York City. The Brooklyn-born Schatz had originally recorded hits of his own as Ritchie Dean for the Tower label, then went on to form several short-lived groups before focusing on producing. Together, he and Schlaks (who co-wrote the Turtles' "Your Maw Said You Cried") partnered up to produce numerous post-psychedelic/heavy rock acts like Yesterday's Children and Banchee. Schatz continued to work as a producer and had his biggest success in the mid-'70s disco era as a staff producer at RCA, where he produced hits for Evelyn "Champagne" King and Vicki Sue Robinson ("Turn the Beat Around" went to number ten on Billboard's pop charts in the summer 1976). He also worked with the studio cast on the 1979 production of Hair -- A Disco Spectacular, and since then has worked with artists in various other genres, including jazz and country. ~ Bryan Thomas
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