genre: heavy
state: uk
quality: lossless (ape, cue, log, covers)
time: 40:00 size: 251 mb
Tapestry of Delights:
This was a mainstream rock outfit with progressive leanings, which included former Jethro Tull member Glen Cornick. Their albums are becoming harder to find now, but are they worth searching for? We're talking pretty run of the mill progressive rock here with nothing to distinguish them from the pack. The better tracks on Turkey are Telephone and A Universal Man, hard rock tracks with progressive leanings, strong vocals and fine guitar leads. ~ (Vernon Joynson/Costas Arvanitis)
01. Butterfly 4:55
02. To The Stars 4:24
03. twelve Streets Of Cobbled Black 3:08
04. Dulwich Fox 3:44
05. Easter Psalm 3:40
06. Sanctuary 3:49
07. One Sole Survivor 4:39
08. Gentle Rain 3:11
09. Battle Hymn 4:35
10. Sentinel 3:54
Bass Guitar, Guitar, Keyboards – Glenn Cornick
Guitar, Vocals – Jon Blackmore
Lead Guitar – 'Tweke' Lewis
Percussion – Jeff Jones
Vocals, Acoustic Guitar – Gary Pickford-Hopkins
genre: proto canterbury
state: uk
quality: lossless (flac, cue, log, covers)
time: 57:58 size: 282 mb
Tapestry of Delights:
This now legendary Canterbury-based band later spawned both Soft Machine and Caravan. They formed in 1961. The original line-up all went to the Simon Langton School, an exclusive private school in Canterbury. Their original vocalist, Graham Flight, soon left to be replaced by Kevin Ayers, although in September 1965 he left and a year later helped form Soft Machine. Richard Sinclair left to go to college around the same time and later started Caravan. Next line-up did record a demo early in 1965 but it never saw the light of day. They had a few originals but much of their set consisted of Chuck Berry and Beatles numbers. Richard Coughlan and Pye Hastings came in as replacements for Ayers and Sinclair and Robert Wyatt switched to vocals. At the end of 1966 Hugh Hopper switched to sax by which time Wyatt had joined Ayers in Soft Machine. By now the band were mainly playing originals, which veered towards soul. In March 1967 Hugh Hopper also left (he also resurfaced a couple of years on in Soft Machine) and Dave Sinclair (Richard's cousin) and Dave Lawrence joined. A few months later Brian Hopper and Lawrence quit the music scene leaving Coughlan, Hastings and Sinclair dormant for a few months before they re-emerged in Caravan.
genre: heavy glam, prog
state: us
quality: lossless (flac, cue, log, covers)
time: 41:41 size: 282 mb
wikipedia: White Witch was a glam rock/psychedelic/hard rock band from Tampa, Florida that made two albums for Capricorn Records in the early 1970s. Their name was a paean to "white magic", contrary to the "black magic" of groups like Black Sabbath. As the band announced before their shows: "To bring good where there once was evil, to bring love where there once was hate, to bring wisdom where there once was ignorance; this is the power of White Witch".
The band originally featured lead singer Ronald "Ronn" (or "Ron") Goedert, guitarist Charles "Buddy" Richardson, keyboardist Hardin "Buddy" Pendergrass, drummer Robert "Bobby" Shea and bassist Loyall "Beau" Fisher. Several of the band members had belonged to a popular late-60s Tampa-area band called The Tropics.
Fisher left the group sometime after the first album and was replaced by Rabbi Barbee, who left before the group went back in into the studio in 1974. Bassist Charlie Souza and drummer Bill Peterson also joined the band before the second album.
Due to displeasure with their record label's lack of promotion and its interference in the band's recording sessions, Buddy Richardson left the group immediately after the second album (A Spiritual Greeting) was completed. He was replaced by guitarist George Brawley, who had spent the previous year as a session guitarist in Los Angeles after leaving the southern rock group Brother from Columbia, SC. Drummer Bobby Shea stayed with the group as percussionist and back-up singer. White Witch did a bit more touring and recorded four tracks on demo, but broke up in the late 1970s before a third album was recorded. After White Witch, Goedert made some solo recordings, Pendergrass wrote commercial jingles and opened a recording studio, and Richardson played in other bands ("Revolver").
Some of the original group members began planning a reunion in the late 1990s which became impossible when lead singer Ron Goedert died of cancer on July 16, 2000. Pendergrass also became a victim of cancer on March 16, 2003.
Though primarily known as a glam band, White Witch's music cannot be easily classified into a single genre. Songs on each album ranged from Progressive rock and psychedelic to hard rock to honky tonk to southern boogie to rock-pop. The common threads through their work were lyrics with a new age/spiritual theme and the use of an early moog synthesizer.
genre: heavy
state: uk
quality: lossless (ape, cue, log, covers)
time: 36:14 size: 232 mb
AllMusic:
The second and final collection of Wicked Lady tracks all came from 1972, following the replacement of original bassist Bob Jeffries with Del Morley. Nothing else about either the band or its recording approach changed otherwise, with what proved to be the group's remaining recorded legacy being more of the same style and approach on The Axeman Cometh. Still, there's a little more of a frenetic edge on songs like "I'm a Freak," with faster tempos as well as lines like "I don't know right from wrong/I think I'm gonna be a politician." The band's one recorded cover shows up, a reasonable enough lumber through Jimi Hendrix's "Voodoo Chile" that has lead figure Martin Weaver throwing in a couple of queasy guitar moments all his own. Similarly, the hints of a little more stretching that can be heard at the end of The Axeman Cometh, with the stately enough near conclusion of "Tell the Truth," is more than welcome. "Ship of Ghosts," the final song on the collection, is also the band's longest at 22 minutes; while there are a couple of longueurs, its ambition is reasonably matched by the performance, from full adrenaline overdrive to near silence and back again, concluding on a gently lyrical note. "Passion" deserves a note as well for two reasons -- Morley's more notable basswork and Weaver's concluding line for the chorus: "Just tell me that you love me/And I won't throw your grandma on the fire." ~ Ned Raggett
wikipedia: White Noise is an experimental electronic music band formed in London, England, in 1968 by American-born David Vorhaus, a classical bass player with a background in physics and electronic engineering. He was initially joined by BBC Radiophonic Workshop composers Delia Derbyshire and Brian Hodgson, who had formerly both been members of electronic music project Unit Delta Plus.
In June 1969 White Noise released the groundbreaking album An Electric Storm on Island Records. The album was created using a variety of tape manipulation techniques, and used the first British synthesizer, the EMS Synthi VCS3. Amongst many oddities, the first track on the album, Love Without Sound, employed sped-up tape edits of Vorhaus playing the double bass to create violin and cello sounds.
"I use voices a lot too, but not as conventional vocals. I always use a lot of voices, and if somebody having an orgasm in the background is used as part of one of the waveforms, it makes the sound more interesting, without the listener actually knowing what they're hearing." (Interview with David Vorhaus)
Although not initially commercially successful for Island, it has over the years proved to be a cult classic, going on to sell hundreds of thousands of copies worldwide, namechecked by contemporary artists like The Orb and Julian Cope, influencing contemporary acts such as Broadcast, Add N to (X), and Secret Chiefs 3.
genre: rock
state: us
quality: lossless (flac, cue, log, covers)
time: 64:38 size: 325 mb
Fuzz Acid & Flowers:
This group was from Long Beach, California. Musically, the album is very diverse. There's quite a good cover of Bob Womack's What Is This; the Beatle-ish You'll Lose A Good Thing; and lots of funky strutting on Cold Shot. The highlight, I Couldn't Get High, a fine pop/rocker turns up on Side Two alongside a reasonable cover of Lou Reed's I'm Waiting For The Man. Don't fork out megabucks for the very rare original but snap up the repress if you can.
This album has exactly the same front cover as The Philosophers' After Sundown LP, as both titles were manufactured by Century, who offered bands without artwork the option of picking a cover from a number of 'catalogue' art designs.
Mississippi also recorded a solo album before he joined up with the Perron brothers, entitled Velvet Sandpaper.
genre: rock
state: us
quality: lossless (flac, cue, log, covers)
time: 40:45 size: 208 mb
wikipedia:
Third album by American singer/songwriter Jackson Browne, released in 1974 (see 1974 in music). It was nominated for a Grammy Award in 1975. It peaked at #14 on Billboard's Pop Albums chart. It is considered by many fans, critics and musicians to be his best and most influential album.
Browne has publicly acknowledged that the acclaimed cover art for Late for the Sky was inspired by the 1954 painting "L'Empire des Lumieres" ("Empire of Light"), by Belgian surrealist René Magritte. The album itself contains the credit, "cover concept Jackson Browne if it's all reet with Magritte." The original photograph was shot on a South Pasadena residential street, several miles from Browne's childhood Highland Park, California home. Designer and front cover photographer Bob Seldemann said, "I spoke to Jackson in 1980 and he told me he thought it was his favorite cover. Lest the jacket appear too funereal, a mood-defusing photo of a relaxed Jackson, almost smiling and looking as though he has a surprise to share, occupies a small square of the back cover."
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Oldish Psych & Prog offers progressive psychedelic rock music mp3 lossless downloads
