wikipedia:
Fourth album released by the English jazz rock band If. It was first issued in 1972 and the last album to feature the original recording line-up. Capitol Records, the band's U.S. label, declined to issue this fourth album. Most of the tracks on this album were issued in the U.S. on Waterfall, in a slightly different form (and new line-up), by Metromedia Records.
Side one "Sector 17" (Quincy) – 10:34
"The Light Still Shines" (Quincy/Humphrey) – 5:06
"You in Your Small Corner" (Quincy/Humphrey) – 3:49
Side two "Waterfall" (D. Morrissey/B. Morrissey) – 5:27
"Throw Myself to the Wind" (D. Morrissey/B. Morrissey) – 4:51
"Svenska Soma" (Jonsson-Smith) – 7:09
Dennis Elliott – drums
J.W. Hodgkinson – vocals, percussion
John Mealing – keyboards
Dick Morrissey – saxophones, flute
Dave Quincy – saxophones
Jim Richardson – bass
Terry Smith – guitar
oe: highly recommended, steeper than the great Captain Beefheart
Fuzz Acid & Flowers:
Produced by Michael Lloyd (WCPAEB, Smoke...), designed by Cal Schenkel (Zappa) and dedicated to Jack Kerouac, Simon Stokes' first album is an excellent psych blues album a la Captain Beefheart. Big City Blues, Voodoo Woman, Ride On Angel and Which Way are fast blues/rock numbers with the growling voice of Stokes and the inventive guitar of Butch Senneville (ex-Quatrain). Almost all of the songs were composed by Stokes and Randall Keith and five tracks also appeared on the soundtrack of "Outlaw Riders", a bikers movie.
In 1973 Stokes was back with Senneville for a new album The Incredible Simon Stokes And The Blackwhip Thrill Band produced by David Briggs. Its sleeve designed by Pacific Eye and Ear shows mad monks whipping girls and S&M scenes. Weird! The songs have strange lyrics too (The Boa Constrictor Ate My Wife Last Night, The Wolf Pack Rides The Night, The Devil Just Called My Name, She's Got The Voodoo) and there's a new version of Ride On Angel. John Locke of Spirit plays keyboards on this album.
The fourth LP contains a new version of Big City Blues but is not as interesting, being orientated more toward mainstream rock. This album is generally thought to be his last one, but, in 1996, Simon Stokes came back with no other than Timothy Leary to release as Leary and Stokes, Right To Fly (Psychorelic Records), a CD with twelve new songs co-written with Randall Keith. This year saw also the release on Baloney Shrapnel Records of Ride On by Conqueror Worm, a group formed by members of various US alternative groups (Rancid Vat, Poison Idea, Alcoholics Unanimous). They covered twelve of Stokes' songs, including Big City Blues, Hot Summer Nights, Wolfpack Rides The Night and Voodoo Woman.
genre: heavy prog
state: uk
quality: lossless (flac, cue, log, covers, 298 mb)
time: 41:40
oe: highly recommended, for those who love Atomic Rooster & etc
wikipedia: Still Life was an English progressive rock band characterized by expert Hammond organ playing, intricate and original vocal harmonies, and an agile and precise rhythm section. They had one self-titled album that was originally released in 1971. The album credits kept an aura of mystery about their membership. Martin Cure, Graham Amos, Terry Howells and Alan Savage were actually involved.
Bassist Graham Amos and vocalist Martin Cure began their musical experience in 1963 in a Coventry based band called The Sabres. They later formed The Peeps in 1965. The other two members of the band were Roy Albrighton (guitar) and Paul Wilkinson (drums). The Peeps recorded five SPs for Philips Records (1966–68). In 1968, they recruited Terry Howells on organ (ex-Ray King Soul Band). Their drummer, P. Wilkinson, left the band in 1968 (he joined a band called Flying Machine). With a new drummer, Gordon Reed (ex-Vampires), the group's name was changed to Rainbows. They recorded two singles for CBS Records. The Rainbows also had some gigs in Hamburg, Germany, and when they were finished there their guitarist, R. Albrighton, decided to stay in Germany (later, he formed a band called Nektar). When Rainbows came back to England, Reed left the band. The three remaining musicians: Amos, Cure, and Howells, changed a band name to Still Life. Alan Savage was recruited at short notice prior to the new line-up recording their debut album. It was recorded at Nova Sound Recording Studios, near Marble Arch, London.
Savage was involved with the recording on the following dates: 1, 2, 5, 6 and 13 October 1970. The album was mixed on 26 October. Stephen Shane produced the album, which was released through Vertigo Records. The Allmusic journalist, Richie Unterberger, noted "The record was early organ-dominated progressive rock, its lyrical themes dwelling upon uneasy doubt and sadness, the melodies colored with the gothic classicism prevalent in much of the genre during the period". The band had a recording contract to produce six such albums, but they drifted apart.
genre: folk
state: uk
quality: lossless (wv, cue, log, covers, 183 mb)
time: 35:13
wikipedia:
Third album released by singer-songwriter Cat Stevens. After a meteoric start to his career, surprising even his original producer at Deram Records with the hit singles "I Love My Dog", "Matthew and Son", and "I'm Gonna Get Me a Gun", Stevens' debut album, Matthew and Son began charting as well. However, after the pressure for a repeat album of the same calibre, Stevens, considered a young teen sensation, was overwhelmed by a new lifestyle, as well as the demands of writing, recording, performing, publicity appearances, and touring. In the fall of 1968, he collapsed, with the diagnosis of tuberculosis and a collapsed lung. For over a year, while recovering, Stevens virtually disappeared from the British pop scene. Mona Bone Jakon is notable not only for his return, but for the emergence of a very different artist. The album was certified gold for sales/shipments of more than 500,000 copies in the United States.
During his hospital-dictated year of bedrest, he began writing a catalogue of songs to fill far more than his next album. After his recovery, Stevens negotiated out of his contract with Deram Records and joined with former Yardbirds bassist Paul Samwell-Smith with a stripped down sound, with songs played in spare arrangements on acoustic guitars and keyboards and accompanied by a sparse backing band, consisting only of three other performers: second guitarist Alun Davies, bassist John Ryan, and drummer Harvey Burns—and on one song, "Katmandu", Peter Gabriel on the flute. Smith also produced the album and brought Stevens a high fidelity sound that was not as present on his previous releases. Smith was one of the early producers in rock to push the lower bass frequencies more prominently into the mix in an attempt to keep up with the new audiophile generation which was embracing larger home speakers and high end phonographic cartridges. Stevens began to make the transition from pop star to a folk-rock performer, when the term "singer-songwriter" was just being coined.
genre: soft, folk
state: uk
quality: lossless (flac, cue, log, covers, 210 mb)
time: 34:26
Tapestry of Delights: Stealer's Wheel was formed by two Scottish folk singers Gerry Rafferty and Joe Egan, who had previously sung harmonies on Rafferty's 1971 solo album Can I Have My Money Back? Rafferty incidentally, had earlier played in Humblebums. Brown, Noakes and Campbell all left the band before any recordings were made. Rafferty and Egan then put together line-up, which included Paul Pilnick (once of The Big Three and later Badger).
The band's debut album was full of strong harmonies and was well received. Three of the Rafferty/Egan compositions on the album were issued as 45s and gradually one of them Stuck In The Middle With You, wound its way into the Top Ten. It also got to No 6 in the US. Ironically by then, though, Rafferty had left the band and Williams had been given the push. Harper and Grosvenor (later Ariel Bender in Mott The Hoople) were brought in to replace them, but when the song achieved commercial success Rafferty rejoined the band and everyone else (except Egan) was ousted.
Rafferty and Egan recorded Ferguslie Park (which was named after a district of their home town in Scotland, Paisley) with assistance from various session musicians. Like their debut this album was also produced by Leiber and Stoller and again it was full of strong harmonies. Unlike its predecessor it didn't produce a major hit though there were a couple of minor ones - Everything Will Turn Out Fine (also No 49 in the US) and Star (No 29 in US). Favouring a change of approach Rafferty and Egan started working with a new producer, Mentor Williams. However, a series of problems with backing musicians meant the duo couldn't make live appearances for some months and by the time their next album, Right Or Wrong, was released they didn't have much of an audience to receive it and in any case interpersonal relationships between Rafferty and Egan had reached an all time low. When the band split Rafferty embarked on a successful solo career.
genre: hard
state: uk
quality: lossless (flac, cue, log, covers, 276 mb)
time: 38:44
wikipedia:
Eighth Status Quo studio album. It features Francis Rossi, Richard Parfitt, Alan Lancaster and John Coghlan. The album's cover art features band members in an Ames room, and on the original vinyl release, the inner gatefold sleeve consisted of informal photos members of the group had taken of each other.
In November 1974 the band released the only single from the album, an edited version of a Rossi/Young song entitled "Down Down". The single gave the band their only #1 hit to date. Its b-side was the Parfitt/Young album track "Nightride".
When the album was released in February 1975, the group were more or less at the peak of their career, record sales-wise. The album entered the chart at #1. All tracks were written or co-written by the group including unofficial fifth member, Robert Keith Young, apart from "Bye Bye Johnny", which was a Chuck Berry composition.
genre: heavy
state: us
quality: lossless (flac, cue, log, covers, 265 mb)
time: 36:26
Another gem that fell through the floor boards of time is this Prog Psych monster of an album by the little known Starfire. On pouring over research information we have been able to confirm that this band hailed from sunny California and recorded this album (probably their one and only release ) in 1974. Originally released on the Crimson Records label as a private pressing of no more than 200 copies it is almost impossible to track down an original of this immensely collectable album. To demand the tag 'Prog Psych monster' we have a liberal dose of spooky swirling organ and fuzz guitars. Starfire sounds very much like Thunderpussy but a bit more rockin.
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