genre: psych
country: us
quality: lossless (flac, cue, log, scans)
time: 36:27 size: 215 mb
Fuzz Acid & Flowers:
Produced by Steve Douglas and recorded in New York and L.A., judging by their album this was a rather undistinguished band. It offers eight tracks penned by Micaleff and Malken and which mix competent guitars with early '70s style vocals. Influenced by Free on some tracks (Doing The Best That I Can or Survival, a rip-off of Clover's Shotgun). The most interesting element is perhaps the keyboards which are played by two ace sessionmen, Knechtel and Dickinson. The lyrics have often a Christian content.
The band thank the Hole Hog Juice Band from Greenfield, Massachussets on the sleeve, so maybe, that could be their hometown.
In fact the album is maybe mainly notable for a weird packaging idea, as it came wrapped in a poster of a steamliner. Once the shrink wrap was opened, the hidden black and white sleeve with pictures of the group became visible. ~ (Stephane Rebeschini)
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genre: heavy
country: us
quality: lossless (ape, cue, log, scans)
time: 35'59" size: 220 mb
Fuzz Acid & Flowers:
A Detroit, Michigan outfit. Indeed Michigan Rocks, Vol. 1 includes a track, Persecution, from their album, which is beginning to interest collectors. Snow, a fine heavy slice of acid rock, can also be heard on the Relics compilation.
Jem Targal later released a fine solo album, Luckey Guy (Sheavy) in 1978. We believe this has been booted. He also had at least one further album Color Yourself (Sheavy) 19??.
In 1974, Drew Abbott became the guitarist of Bob Seger and The Silver Bullett Band.
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genre: prog folk
country: us
quality: lossless (flac, cue, log, scans)
time: 43'25" size: 275 mb
progarchives:
The Third Estate were another in a fairly long line of brief collaborations resulting in obscure, private-label albums spawned from college campuses the world over in the late sixties and early seventies. In Third Estate's case the campus was Southeastern Louisiana University, and the music is rather difficult to classify. The 'band' (if it can even be called that) consisted of composer/vocalist/guitarist/bassist Robert Everett, composer/guitarist Chas Harrell, and drummer/percussionist Jerry Lang. This was less of a traditional band, and more of an on-going friendship between Everett and Harrell that involved other musicians when necessary, although the two of them had previously recorded unreleased material as THE ZEALOTS (later changed to AGONISTES).
The band's music is equally balanced between acoustic and electric guitar, with heavy emphasis on picking and strumming but also highly rhythmic and melodic compositions. The lyrical themes range from nostalgic to historical, with the primary theme of their one album being of an historical bent.
That album is the 1976 release "Years Before the Wine", produced with either 500 or 800 copies depending on who is telling the story, and with each cover hand-labeled and unique. The reissued 2006 (vinyl) album is accompanied by a single containing two other Everett compositions from 1968 and 1971, and the tracks on their album were recorded between 1973 and 1975, though not released until 1976. The stated theme of the album is a reflection on the French Revolution of 1789 in which the 'third estate' actually represented virtually the entire country outside of the clergy and nobility; but some of the lyrics on the first side are more introspective and poetic, and seem only vaguely related to those on the back side.
There is no record that the band toured or otherwise existed in any notable fashion after the release of their album. Everett, Lang and Harrell continued for a few years in different lineups of various regional cover bands, but all have moved on to other careers since. Today Everett is a professor of science at the University of Central Florida and is still records occasionally.
The Third Estate deserve a place in the ProgArchives for there one album that despite being obscure and brief, still represents all that makes progressive music so appealing and distinctive as compared to mass-produced 'popular' music.
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 genre: prog country: uk quality: lossless (ape, cue, scans) & mp3 (320k, covers) time: 1:14'22" size: 447 or 180 mb misc.: 1990
the Tapestry of Delights: Formed by Mark Clarke and Jon Hiseman after the demise of jazz-rockers
Colosseum. Their original vocalist,
Paul Williams, had previously played with
Zoot Money,
John Mayall and
Juicy Lucy. This line-up recorded Jon Hiseman's Tempest and toured mostly on the Continent and opened for
Rory Gallagher in the U.S.A..
Williams left in June 1973 followed by Holdsworth a month later. Holdsworth went on to play for
Soft Machine and was later part of Level 42. In the interim Ollie Halsall was brought in on guitar, and their first BBC live performance captured the change in line-up withWilliams, Holdsworth and Halsall performing together. Halsall went on to play with John Otway.
Line-up © played at the Reading Festival in August 1973 and recorded Living In Fear before splitting in mid-1974. A year later Hiseman formed Colosseum II. Mark Clarke later was briefly in Uriah Heep. These two albums show Hiseman moving away from the jazz-rock of
Colosseum in favour of a sort of mundane and far less satisfying power rock with Tempest. (Vernon Joynson / Keith Hyman) |
genre: prog, fusion
country: finland
quality: lossless (ape, cue, log, covers)
time: 51'21" size: 311 mb
ProgArchives:
This group is one of the earliest prog group from all of Scandinavia (their first album was recorded in 69 but the group has roots from 68) although they were hardly classic prog, playing a very wide spectrum of music from jazzy stuff to blues via folk and rock. All four albums are very constant in the crazy Finnish way of playing progressive music, but you will have a hard time to find their second album - the only one not to be released on Love Record under which recorded TABULA RASA and FINNFOREST as well as WIGWAM a band that could they (TASAVALLAN PRESIDENTITI) be compared to. Their last album was more similar to COLOSSEUM. ~ Hugues Chantraine, BELGIUM
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genre: folk, beat
country: uk
quality: lossless (flac, cue, log, covers, size: 227 mb), mp3 (320k, scans, 86 mb)
time: 36'59"
Wiki:
Hollies Sing Dylan is a 1969 cover album where the Hollies sing Bob Dylan songs. It was also released in the US as Words and Music by Bob Dylan with a different cover but using the same band image and track order.
This album was recorded and released following Graham Nash's departure from the band to join David Crosby and Stephen Stills in mid 1968 after early sessions for a follow-up to the psychedelic concept album, Butterfly broke down. Nash became frustrated when the other band members showed opposition to lyrics in his latest compositions. By that time, Nash was the only member of the band experimenting with LSD and Marijuana and a rift was forming between him and his beer drinking band-mates. ...
Side 1
"When the Ship Comes In" – 2:40
"I'll Be Your Baby Tonight" – 3:24
"I Want You" – 2:09
"This Wheel's on Fire" – 2:52
"I Shall Be Released" – 3:20
"Blowin' in the Wind" – 4:06
Side 2[edit]
"Quit Your Low Down Ways" – 2:40
"Just Like a Woman" – 3:57
"The Times They Are a-Changin'" – 3:15
"All I Really Want to Do" – 2:19
"My Back Pages" – 2:55
"Mighty Quinn" – 2:24
Bernard Calvert – bass guitar, piano, organ, keyboards
Allan Clarke – vocals, harmonica
Bobby Elliott – drums, percussion
Tony Hicks – vocals, lead guitar, banjo
Terry Sylvester – vocals, rhythm guitar
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 genre: folk country: us quality: lossless (flac, cue, log, scans) time: 1:19'0" size: 507 mb
High Flyin' Bird (Billy Edd Wheeler) (3:38)
Drown in My Own Tears (Henry Glover) (4:21)
Morning, Morning (Tuli Kupferberg) (2:21)
Just Like a Woman (Bob Dylan) (4:49)
The Dolphins (Fred Neil, Freddy Neil) (5:10)
Here Comes the Sun (George Harrison) (3:48)
God Bless the Child (Billie Holiday, Arthur Herzog, Jr.) (6:19)
The Klan (4:35)
Handsome Johnny (Richie Havens, Lou Gossett, Louis Gossett Jr.) (3:56)
Follow (Jerry Merrick) (6:24)
Younger Men Grow Older (Richie Havens, Mark Roth) (4:01)
Medley: Run Shaker Life/Do You Feel Good (Richie Havens) (8:36)
What About Me (Dino Valenti) (6:12)
The Minstrel from Gaul (Richie Havens, Mark Roth) (3:36)
Rocky Raccoon (John Lennon, Paul McCartney) (5:07)
San Francisco Bay Blues (Jesse Fuller) (2:31)
Freedom (Adapted from Motherless Child) (3:26)
Bill Keith (Guitar Steel)
Richie Havens (Guitar Rhythm, Vocals, Producer)
Daniel Ben Zebulon (Conga)
Harvey Brooks (Bass)
Malcolm Cecil (Moog Synthesizer)
Carter Collins (Conga)
Howard Collins (Guitar)
Paul Harris (Organ, Piano, Piano Electric)
Emile Latimer (Percussion, Conga)
Bill Lavorgna (Drums)
Robert Margouleff (Moog Synthesizer)
Arnie Moore (Bass)
Eric Oxendine (Bass)
Joseph Price (Conga)
Paul "Dino" Williams (Guitar)
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genre: christian, psych, folk
country: us
quality: lossless (flac, cue, log, scans)
time: 35'17" size: 203 mb
Evermore Blues:
Very pro-sounding 1970s Christian hippie folkrock LP with a slicker sound than universally loved Jesus rock monsters like Kristyl et al. Impressive vocal harmonies manage to convey a wide range of emotions within the realm of an elaborate production. Other notable features include typical 70s keyboard wizardry, some good guitar, and intricate Third Estate-style arrangements that occasionally stray into the overambitious. Includes a cover of "One in spirit", rest is group originals. May be too much of a mainstream studio Steely Dan trip for some, but apart from one atypical country track I think it's pretty good. Release year seems to be 1971 but it actually sounds more like 1975-76 to me. Apart from the back cover difference, the original press has a different font on the front cover logo, and the label logo in the left corner instead of the right.
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 genre: rock country: us quality: lossless (ape, cue, log, scans) time: 57'56" size: 320 mb
"In My Dreams" – 5:26
"Freeway" – 5:54
"Uninvited" – 4:24
"Success" (Bill Bottrell, Perry) – 5:25
"Life In A Bottle" – 4:21
"Fill Me Up" – 5:00
"Knock Me Out" (Perry, Marty Willson-Piper, Grace Slick) – 6:50
"Too Deep" – 5:37
"Taken" – 3:38
"Fruitloop Daydream" (Perry, Bottrell, Brian MacLeod, Kevin Gilbert, Dan Schwartz) – 3:15
"Machine Man" (Perry, MacLeod, Gilbert, Schwartz) – 3:20
"In Flight" – 5:03
All music & lyrics written by Linda Perry except where noted Linda Perry – guitars, piano, bass
Bill Bottrell – guitars, bass, drums
Kevin Gilbert – keyboards, guitars
Dan Schwartz – bass, steel guitar
Brian MacLeod – drums, percussion
Lisa Germano – violin
Additional Personnel:
Grace Slick – vocals on "Knock Me Out"
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genre: prog
country: uk
quality: lossless (flac, cue, log, scans)
time: 40'48" size: 310
Tapestry of Delights:
Graham Field had previously been in Rare Bird. Andrew McCulloch played in King Crimson and Alan Barry had been with the Giles brothers.
01. A Friend Of Mine 4:30
02. While The Sun Still Shines 3:17
03. Not So Good 3:11
04. Three Minstrels 4:30
05. Slow Susan 3:44
06. Over And Over Again 5:56
07. Feeling Free 3:15
08. Fair Haired Lady 3:06
09. A Place To Lay My Head 3:39
10. The Eagle 5:28
11. Slow Susan (Alternate)* 3:45
12. A Place To Lay My Head (Alternate)* 4:27
ALAN BARRY gtr, vcls, bs, synthesizer
GRAHAM FIELD keyb'ds
ANDY McCULLOCH drms
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 genre: rhythm'n'blues country: uk quality: lossless (ape, cue, log, scans) time: 45'18" size: 259 mb
the Tapestry of Delights: The Faces formed in June 1969 when three former
Small Faces (Lane, McLagan and Jones) joined forces with former
Jeff Beck Group members
Rod Stewart and Ron Wood. From their inception
Stewart also pursued a solo career signing a separate recording contract with Mercury. Indeed, aside from their highly-touted live performances, Stewart's fame when Maggie May became a massive hit in 1971, was a major factor in their success.
The musical offering was a brand of boozy, easy-going rock that sounded better live than on vinyl. They made their debut at Cambridge University in 1969 as part of
Quiet Melon with Kim Gardner and Art Wood and were promoted as The Small Faces for their debut album in the US. Their first three albums were frankly patchy but sold quite well and their recorded work was mostly overshadowed by Stewart's solo exploits. The group often backed him and found itself being billed as Rod Stewart and The Faces, which caused a degree of bitterness. The First Step album had a raunchy R&B flavour but was short on strong material. The strongest song was
Ronnie Lane's Stone. A Nod's As Good As A Wink was their best and most successful album, peaking at No 2 in the UK and No 6 in the US. In particular it featured a ball crunching rework of Chuck Berry's Memphis Tennessee, which was probably their finest moment. Their best remembered 45, though, has to be Stay With Me, which captured Stewart's vocals at their best and climbed to No 6 in the UK and No 17 in the US. This was the band in their heyday.
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