Style: psych
Country: us
Audio: loss (flac, cue, log, scans)
Size: 218mb
from Lama :
Classy eastcoast psych with the typical neurotic NYC sound a la the 2nd Blues Magoos and Lothar & The Hand People. Many love this and it's certainly one of the best trips for under $100 a hit.
01. Auto Salvage 5:52
02. Burglar Song 2:28
03. Rampant Generalities 3:13
04. Medley: a) Our Life As We Lived 3:15
05. Medley: b) Good Morning Blues 3:18
06. Ancestral Wants 3:48
07. A Hundred Days 2:14
08. Land Of Their Dreams 3:07
09. Parahighway 2:31
10. Medley: a) The Great Brain Robbery 2:33
11. Medley: b) Glimpses Of The Next World's World 2:46
Thomas Donaher - l vcl, r gtr
Darius La Noue Davenport - vcl, pno, oboe, krumhorn, reed instruments, guitar, keyboards, drums, percussion
Rick Turner - l gtr, banjo, dulcimer
Skip Boone - bss, gtr, pno
HANS-JOACHIM ROEDELIUS DIETER MOEBIUS MICHAEL ROTHER
Gibraltar: Rather boring ambient/electronic band which was basically a cross between Neu! and Cluster. Although I like most progressive genres, the minimalist attitute of bands like this don't attract me whatsoever. Excellent krautrock from a kraut-supergroup. Cluster and Rother (from Neu!) joined forces to make two classic, influential, and highly enjoyable albums. The music is generally performed with experimental electronics, analogue synths, early drum machines, and Rother's guitar; I largely associate it with Eno (indeed, Cluster and Eno collaborated several times) in that it's quite experimental and yet also highly melodic and well-crafted. The first album is instrumental, and the songs consist of layers of melodic electronic/synth sequences played over gentle electronic rhythms, with extra rhythm and depth provided by Rother's guitar; the album also contains the track, "Cosmische: - a very blissful piece of spacey loveliness.
from Progweed :
The third album from Ange is, in my eyes, their definitive hour. Simply put, Au Dela du Delire completely kicks my ass every time I listen to it. The album picks up on the basic feel of Le Cimitiere des Arlequins and ups the anty all around. Au Dela du Delire sees a leap forward on the compositional end, as the band displays less of a willingness to go out on any kind of tangent, or leave any idea underdeveloped. Without a doubt, everything here is more focused and complex, while the main themes and melodies are even more memorable. Mellotron and violin are major points of emphasis as well, with Francis DeCamps lending an orchestral flair that is more infused with the compositions, rather than providing background swells as he did on the previous effort. The production, as on Cimetiere... is rather muddy, but is only a minor drawback, perhaps even adding to the rough-around-the-edges mystique of the album.
This album is chock full of moments of unbelievable, breathtaking intensity. "Longues Nuits d'Isaac" is an utter barn burner, beginning with a earth shattering electric guitar riff from Jean Michel Brezovar and proceeding beneath Christian DeCamps primal roar. "Ballade Pour Une Orgie" is a pleasant, melodic piece with great dueling acoustic guitar melodies. In an album full of highlights, perhaps the finest moment comes at the solo break of "Exode", where Brezovar unleashes a savage guitar lead that gradually builds over the throbbing rhythmic backdrop, as it hits its peak, the mellotrons come soaring in with majestic orchestral swells, as Brezovar's guitar screams beneath. A climax of pure progressive splendor. "Fils de Lumeire" is another extraordinary piece, short but to the point, with an infectious main theme, making its mark with Christian DeCamps' dramatic vocal delivery. And who can forget about the enormous title track? The album closes out with a nine minute piece of pure mellotron worship, gorgeously intense.
Au Dela du Delire is a progressive rock classic. Comparisons to Genesis and Van der Graaf Generator are pretty much moot. Ange are undoubtedly the most influential French symphonic group, and like Genesis, King Crimson or Yes, have gone down as innovators of a particular style by which the pretenders are measured. Other bands sound like Ange, but Ange are an entity unto themselves. Au Dela du Delire is their opus, don't miss it. - Greg Northrup [September 2001]
Style: rockabilly Country: us Audio: mp3 (192k) Size: 52mb
Female singers at the forefront of the rockabilly movement can be counted on one hand - Wanda Jackson and Janis Martin are probably the two most famous - but add to that list one red-hot (tressed) lady from Dallas who fronts one of the most-talked-about combos of that genre: Kim Lenz and her Jaguars.
Daughter of a rodeo queen, Kim Lenz became interested in rockabilly at an early age, influenced by the aforementioned Jackson and Martin - as well as Barbara Pittman - on the female side, and such honky-tonk standard-bearers as Johnny Carroll, Charlie Feathers, Johnny Horton, and Faron Young. Lenz grew up in Southern California, relocating to Dallas in 1994, and forming the band in 1996.
Since then, Kim Lenz and her Jaguars have taken off, becoming a buzz band not only in their native Texas, but all over the world-wide rockabilly circuit. Fans and critics alike rave about the band's live shows, sparked by Kim's energetic stage presence, powerful vocals, and drivin' rhythm guitar. Lenz is backed by one of the most solid bands on the road today. Lead guitarist Tom Umberger generates a pure vintage sound through his rig. Shawn Supra slaps his bass fiddle for all it's worth, and Scotty Tecce takes no prisoners on drums. A four-track E.P., released in 1996, further fueled the excitement and in 1997, Kim Lenz was voted Best Female Vocalist by the Dallas Observer.
All of this has led up to the release of the band's self-titled debut album on HighTone Records' HMG label. To create a more authentic sound, the band enlisted the help of producer Wally Hersom, best-known as the bassist in Big Sandy and his Fly-Rite Boys, who recorded the album totally live in the studio without any overdubs. Kim's songs also separate this band from the rest of the pack. Their timeless lyrics are steeped in the style and structure of classic rockabilly. Lenz wrote nine of the album's 14 cuts, including "Saturday Jump," a tribute to The Comets (Bill Haley's former band), with whom they shared the bill at last year's Denver Rock n' Rhythm-Billy Weekender. The best of the cover tunes include "The Swing," originally written and performed by 1950's Dallas rockabilly pioneer Johnny Carroll, "Ten Cats Down," originally performed by The Miller Sisters, and "You Made A Hit," which first came out as a single on Sun Records by Ray Smith.
Gibraltar: As opposed to East, here's what I consider a quality symphonic band. They aren't on the level of Yes or ELP but if you're looking for bands that fit into that sort of style, Amenophis may please you. The musicianship is tight, proficient and likeable. I'm a bit tired of the symphonic bands that keep popping up, but these guys are quite good. Worth a try.
Style: blues, rock Country: us Audio: mp3 (256k) Size: 76mb
In 1969, producer/multi-instrumentalist and vocalist Al Kooper added "talent scout" to his already lengthy resumй on the follow-up to the highly successful Super Session disc, which had been issued the previous year. One major difference between the two, however, is the relatively unknown cast featured on Al Kooper Introduces Shuggie Otis. Both albums again converge with the presentation of top-shelf musicianship and inspired performances. At only 15 years of age, Otis (guitar) is equally potent a performer as the seasoned Kooper (keyboards/guitars). The duo is able to manifest an aggregate of material whose success leans as much on Kooper's experience as it does on Otis' sheer inspired youthful energy. The LP is divided between a side of shorter works (aka "songs") and a few extended instrumentals (aka "blues"). Kooper and Otis steer their house band which includes Stu Woods (bass), Wells Kelly (drums), and Mark Klingman (piano). The tight arrangements aptly reveal Kooper's uncanny ability as a musical conduit. "Bury My Body" -- a variation on "In My Time of Dyin'" -- has been reworked into a gospel rave-up and features Kooper on one of the album's only vocals. Conversely, "Double or Nothing" is a spot-on re-creation of a Booker T. & the MG's track, which not only retains every Memphis-inspired intonation, but also shows off Otis' ability to cop Steve Cropper's guitar solo note for note. The blues instrumental jams are documented live and presented on this album the way that they originally went down at the recording sessions. The descriptively titled "Shuggie's Old Time Slide Boogie" is endowed with a nostalgic piano/bottleneck slide duet and even features the added production value of manufactured surface noise. Both "12:15 Slow Goonbash Blues" and "Shuggie's Shuffle" are certainly no less traditional, allowing both Otis and Kooper the chance to stretch out and interact in real time. ~ Lindsay Planer, All Music Guide
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Oldish Psych & Prog offers progressive psychedelic rock music mp3 lossless downloads
