 genre: glam
state: uk
quality: lossless (flac, cue, log, covers)
time: 68:47 size: 415 mb
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.
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 genre: prog
state: belgium
quality: lossless (flac, cue, log, covers)
time: 39:41 size: 214 mb
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.
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 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.
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 genre: heavy kraut
state: germany
quality: lossless (flac, cue, log, covers)
time: 41:49 size: 248 mb
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.
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 genre: jazz, fusion
state: uk
quality: lossless (flac, cue, log, covers)
time: 44:17 size: 333 mb
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. ...
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 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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Date: 11.04.2015
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 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
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 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.
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 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.
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 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
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 genre: psych, electronic
state: uk
quality: lossless (ape, cue, log, covers)
time: 36:14 size: 196 mb
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.
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 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.
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 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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 genre: folk, prog
state: uk
quality: lossless (ape, cue, log, covers)
time: 35:43 size: 192 mb
Tapestry of Delights:
Deram collectors must wield quite some endurance. Sometimes their perseverance can be very rewarding, but more often than not they are confronted with the likes of Whistler. Backed by the very cream of the UK's studio musicians and aided by a sympathetic and lush production, this band manages to produce 12 tracks of completely similar sound and meagre melodic content. Even if all three vocalists sing nicely enough and all get songwriter's credits, the bulk of the material is weak or even downright boring. The band plays precisely though, but with this kind of half-folk there isn't much of interest to show for it. For completists only. Grout-Smith designed some brilliant cover art for this album. ~ (Marcel Koopman)
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