Style: jazz rock
Country: uk
Audio: lossless (ape 768k)
Size: 341mb
misc.: this is compilation of earlier material (read tray)!
from Tapestry of Delights:
Nucleus first attracted attention by winning first prize at the Montreux International Festival in 1970 for their improvised and integrated music which was an amalgam of jazz and rock. They were originally formed in 1969 by trumpeter Ian Carr. He was joined by ex-Battered Ornaments guitarist Chris Spedding and Karl Jenkins and John Marshall (who both went on to Soft Machine) on the first three albums. Elastic Rock was their most successful, actually climbing to No 46 in the Album Charts. Their third album, Solar Plexus, was spacier than the two which preceded it and is particularly recommended. In 1972 Jenkins and Marshall both departed to join Soft Machine.
Belladonna was essentially an Ian Carr solo album, although he did enlist the services of guitarist Allan Holdsworth. Produced by Jon Hiseman (of Colosseum fame) it is Carr's most sought-after work for Vertigo. Of the later albums Snakes Hips Etcetera is well regarded. They eventually split up in the early eighties.
Nucleus are still considered to be one of Britain's top jazz-rock bands.
Style: heavy psych
Country: us
Audio: lossless (ape, cue, log, scans)
time: 52'07" Size: 321 mb
Issue: 2001 Akarma
Fuzz Aci & Flwers:
Sonobeat pressed 100 copies of this Austin-based outfit's album which they tried to sell to United Artists. Musically they were very heavy with plenty of good guitar work but perhaps too much instrumentation. They won a good 'live' reputation but sadly broke up before Sonobeat concluded their negotiations with United Artists. Erik Johnson was a brilliant 16 year old guitarist who still has a considerable reputation as a guitarist in the 1980s with another Texan band Electromagnetics. His guitar work was also much in evidence on their second 45. The first was a pair of drum solos backed by studio electronics. The reissue of their album is obviously welcome because copies of the promotional-only release were very rare indeed.
oe: very good band guys, although plays this materal in '80s.
Gibraltar:
According to this Norwegian bands history, Lucifer Was came together in 1970 and toiled around for many years without releasing any recorded material. Upon being discovered by the Record Heaven label, the band was convinced to record songs written back in the early 70's which were only played live at the time. Underground and Beyond is the culmination of those songs, a raw and aggressive collection of songs that owes to many of the great bands of that era, including Jethro Tull, Black Sabbath, Cream, Mountain, and early Scorpions.
Led by guitarist/vocalist Thore Engen, the band featured his pounding and savage riffs complemented by dual flutes. If one can imagine what Jethro Tull would have sounded like if Tony Iommi had chosen to stick around instead of going back to Black Sabbath in 1969, Lucifer Was would be a good example. Hearing the bludgeoning guitar licks dueling it out with manic flutes throughout the bands first CD is quite impressive, and a precursor to the surprise the group had in store for the follow-up, In Anadi's Bower. Here the band brought in a full-time singer named Jon Ruder (previously vocals were shared by Engen and flautist Dag Stenseng), whose vocals sound like a cross between Ian Anderson and Klaus Meine from the Scorpions. In addition, the band now has two Mellotron players, who add even more depth to the songs. One listen to the title track, with its waves of cascading Mellotrons that ultimately gives way to a classic, evil guitar riff from Engen, will send shivers up your spine. Another highlight is the four-part epic "Little Child", that is the most progressive and adventurous song the band has yet recorded. Listeners who love crunchy guitars, wild flute playing, and tons of Mellotron will find much to like with Lucifer Was. -- Peter Pardo
oe: Amazing band!!! Don't you hear something from Lothar's Machines in Floyd's Money?
Fuzz Acid & Flowers:
This was one of the most interesting groups to emerge from America in this era. They moved to New York to record their two albums. Lothar was actually the name they gave to the theremin, which, together with two moog synthesisers, Ampex tape decks, keyboards and a linear controller characterised the group's sound.
Their debut album was reissued in the U.K. a few years ago and is consequently not difficult to obtain. On most tracks like This May Be Goodbye and That's Another Story, the theremin's influence is confined to short intros to fairly conventional two or three minute compositions. However, three exceptions to this are the weird Machines, the unusual Sex And Violence and final track It Comes On Anyhow - which is a foretaste of some of the psychedelic craziness which appeared on their follow-up album.
On Space Hymn, the theremin and other electronic gadgetry is generally used to better effect. The album is composed of a mixture of weird material and more commercial numbers, such as Yes! I Love You, Heatwave, and Say I Do (which were issued as singles). The lyrics are often full of the usual hippie cliches. For example, What Grows On Your Head? is, as one might expect, romanticising about the freedom and virtues of long hair, while Midnight Ranger sounds like the story of a ranger who has had one trip too many! Some of the other material is particularly weird, notably keyboard instrumental Wedding Night For Those Who Love, Sdrawkcab and Today Is Only Yesterday's Tomorrow. The title track, however, reaches new heights of craziness when the vocalist sets about hypnotising his audience! Certainly an interesting album, this is recommended. Apart from Heatwave, all the material was written by the band and you won't hear anything more unusual from this era than that title track.
Kim King went on to become a producer and sound engineer, notably working with Holy Moses and Colin Winski. ~ (Vernon Joynson/Stephane Rebeschini)
COSMIC DREAMS AT PLAY:
A progressive jazz-rock outfit. Dieter Dierks guested on mellotron. VCU ("we see you") was produced by Peter Hauke in the Dierks studio 1973. This album represented one of his least successful productions. Lily's music was quite ordinary and bands like Ardo Dombec made, in my opinion, far better efforts to combine jazz and progressive rock (with the weight on rock). Certainly other collectors regard Lily with more enthusiasm than me, though! The album had a notorious sleeve with the members pictured with lots of make-up.
Style: heavy prog
Country: us
Audio: lossless (ape,cue, log, scans)
Size: 243 mb
Gibraltar:
As far as homegrown prog bands went (with a couple exceptions), 1970's America was the home of the brave but doomed. Leviathan was one act that actually managed to get one proper album release before disappearing, probably to secure to themselves and their posterity the blessings of not starving to death. Not as derivative of big-name British acts as most of their contemporaries, Leviathan's release (LP Mach Records AMA 12501, CD Akarma AK 110) instead demonstrates how much more blurred the line between heavy metal and progressive rock had already become in the Colonies than in the Old Blighty.
The opening track "Arabesqúe" is rife with crunchy guitar riffs, stomping drums and bass, and bluesy vocal melodies delivered with hard rock's throaty harshness and occasional caught-meself-in-the-zipper yells. On the other hand, these are interspersed with a more delicate and harmonically complex sections with acoustic guitar, quick organ cadenzas and especially swirling Mellotron swells. The effect resembles some of Kansas' early works, though the writing is less adventurous and the playing less dynamic. The rest of the album pendulates between these two elements, searching for a right balance with variable success.
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Oldish Psych & Prog offers progressive psychedelic rock music mp3 lossless downloads
