genre: rock, white soul
quality: lossless (flac tracks, cue, log, covers)
time: 120:45 size: 825 mb
wikipedia: Peaceful World is the eighth studio album (a double-LP) by rock band The Rascals. Vocalist Eddie Brigati left the Rascals in August 1970, with guitarist Gene Cornish leaving the following month. By October, a new lineup of the Rascals was assembled featuring original members Felix Cavaliere (vocals/keyboards) and Dino Danelli (drums), and several new players, including ex-Paul Butterfield Blues Band guitarist Buzz Feiten and vocalist Annie Sutton. Peaceful World was the first album featuring this new version of the band. It was also the Rascals' first album for the CBS/Columbia label, after almost six years with Atlantic Records.
Many of the songs on Peaceful World were jazz-influenced, as opposed to the "blue-eyed soul" style of the Rascals' heyday; the title track, in particular, was a long piece featuring improvisation and multiple extended solos.
Tapestry of Delights:
This extremely popular Scottish beat group formed back in 1961, but they stabilised with the above line-up in 1963. They were managed by the owners of the Flamingo Ballroom in Scotland prior to being signed by Andrew Oldham. Their first 45, Now We're Thru', introduced their distinctive minor key, acoustic 12 string sound to an unsuspecting world and gave them their only, albeit minor hit. The follow-up, That's The Way It's Got To Be was a pounding rocker, which could have really put them on the map but sadly it was under-promoted and flopped. The third 45 was much quieter and more in the style of their debut - unfortunately it met with the same fate. A change to Oldham's new Immediate label failed to change their fortunes and by the end of 1966 most of their initial recording line-up had left or was on the verge of leaving. Oldham, too, lost any interest he might have had in the band and the crumbling outfit found themselves with no manager and no recording contract. Resilience proved to be one of their main qualities, though, they re-grouped with a new line-up, got signed to Decca and found a new manager and producer. Wooden Spoon was another fine single but in the true tradition of Poets' singles it flopped. It was written by their manager Eric Woolfson and Unit 4 + 2's Tommy Moeller. Mulvey then left. He briefly sang with Mustard who later became Tear Gas. Breakey joined Studio Six and Fraser Watson departed for The Pathfinders, but The Poets still soldiered on, undergoing various line-up changes until they stabilised with line-up. This new line-up is thought to have recorded a 45 for Pye, Alone Am I (it's been suggested too that this was the work of a completely different Irish band). The band's death knell came in 1971 when Hughie Nicholson left to join Marmalade, Ian McMillan having originally departed to a short-lived act called Cody. The same year Tony Meehan, a Radio Scotland dee-jay used a band led by Dougie Henderson who called themselves The Poets to cut a 45 to promote Strike Cola, a sort of Scottish equivalent to Pepsi. Meehan was working as an advertising consultant at the time.
After they split in 1971 Nicholson joined The Marmalade and McMillan was in Cody, who splintered from White Trash. The two later re-united in Blue. ~ (Vernon Joynson/Frank Murphy)
genre: folk, psych, country
quality: lossless (flac tracks, log, covers)
time: 28:57 size: 176 mb
Fifth album made by American psychedelic folk group Pearls Before Swine. The album was the first to be credited to "Thos." (Tom) Rapp and Pearls Before Swine, rather than solely in the group's name. In fact, the group, which had been formed by Rapp and his friends in Florida in the mid-1960s, and which in its original incarnation had never performed live, had effectively ceased to exist by the time of their third album These Things Too, and subsequent albums had been recorded by Rapp with his wife Elisabeth and session musicians. City of Gold drew heavily on material left over from the recording of the previous Pearls album, The Use of Ashes, which had been recorded in early 1970 with the cream of Nashville's session musicians. Further recording sessions took place in New York later that year, with Rapp taking on producer duties.
The album, while having a broadly country/folk feel, is very mixed in content and, in most critics' estimation, quality. However, it does contain some of Rapp's best lyrics, sparkling arrangements, and some of his most heartfelt vocal performances, such as on the harpsichord-dominated version of Leonard Cohen's "(Seems So Long Ago) Nancy", and his own "Did You Dream Of". It also includes a very atypical up-tempo Rapp song, "The Man", sung vigorously by David Noyes. According to Noyes, a high school student at the time, the song was recorded at A&R Studios in New York City during the summer of 1969; Noyes also sang harmony vocals on other songs, including "Seasons In The Sun". Noyes' friend, Jon Tooker, took his position when the band toured Europe later in the year.
wikipedia: Stardancer was the second solo album credited to American singer-songwriter Tom Rapp, the leader of folk-rock group Pearls Before Swine.
After two Pearls Before Swine albums for ESP-Disk, and five albums for Reprise Records which increasingly acknowledged his solo status, Rapp signed for Blue Thumb as a singer-songwriter, ironically around the same time as Pearls Before Swine had at last begun to perform as a regular touring group. The group, including Art Ellis, Harry Orlove and Bill Rollins, appeared on three of the tracks on Stardancer, but on most of the songs Rapp was supported - as he had been two years earlier on The Use of Ashes - by Nashville session musicians, led by Charlie McCoy and supported by Steve McCord (who had previously been a member of one of Lou Reed's first bands, The All Night Workers).
Rapp stated that Stardancer was the first album since the first Pearls album One Nation Underground over which he had full control. Although Allmusic gives Stardancer a mediocre rating, this is not supported by other critics, nor by Rapp himself, who has rated the album as one of his finest. The fierce anti-war song "Fourth Day of July", with its references to "the broken children of Vietnam", was widely played in "underground" circles of the time. The lighthearted "Summer of '55" contains some of Rapp's cleverest aphorisms, such as "When the day breaks / the pieces fall on you". Two of his other songs, "Stardancer" and "For The Dead In Space", reflect on themes of loss against a background of space travel and can be seen as reworkings of Pearls Before Swine's earlier "Rocket Man". Several of the arrangements hark back to the psychedelic style of his earliest albums, such as Balaklava, with use of bell overtones and phasing.
genre: sympho prog folk
quality: lossless (flac, cue, log, covers)
time: 50:20 size: 271 mb
The failure of Space Hymns and the elapse of three years before the release of Glass Top Coffin seem to have taken their toll on Ramases' musicianship. Gone are the obvious religious overtones within the music as well as the tantric chants that characterized the debut album. Instead the music presented is totally unreflective and has practically no musical link at all with Space Hymns.
In fact one feels that over this period, which was an especially long period in musical terms during the seventies when groups would churn out even two albums a year, that Ramases has matured musically. The overall layout of this album involves a rich orchestral sound coupled with straight forward ear-friendly tracks, almost sounding like a musical at times, yet on the whole a pleasant album to listen to.
Musically, Glass Top Coffin is by far superior to Space Hymns, however, this album like its predecessor has sunk without a trace. In actual fact it makes a very relaxing listen as the orchestration as well as the vocal parts is superb. Monotony and repetitiveness is almost non-existent on this album (unlike Space hymns) while the religious undertones, when present, are almost negligible.
Unfortunately history would dictate that this album would flounder to the extent that it has not even been made available on CD as yet, which is a pity. From a progressive rock point of view, this would be of no great loss as Space Hymns should be the one to appeal to the progressive rock fan. Having said that Glass Top Coffin does have its moment and the combination of rock and orchestra is brought out to full effect here and it is of particular interest to see how a musician could have progressed from two widely different bodies of music in such a short time span. ~ Nigel Camilleri
genre: rock, psych
quality: lossless (ape, cue, log, covers)
time: 38:18 size: 202 mb
The first album without original members John Cipollina and David Freiberg. Nicky Hopkins had also left at this point to continue his successful journeyman career. Only Gary Duncan and Greg Elmore remained from the original quartet. The album also saw a major decline in sales: whereas their previous four albums had reached the Top 30 on Billboard, Quicksilver failed to dent the Top 100.
Tomorrow May Be Vanished: 01. North In the Country 4:16
02. Mild Grey Fog 3:27
03. Tomorrow May Be Vanished 4:27
04. What Man Has Made Of Man 2:04
05. 14 Pages 4:24
06. Going Through This Life 4:01
07. Oh, Grandpa 3:40
08. Lost In the Forest 2:17
09. Kerre Violin 4:39
10. Daida 4:03
Drunk And Happy: 11. Elsie Olivia 4:26
12. Sitting Bull 3:55
13. Stones 5:01
14. Poor Annabelle 2:39
15. Drunk and Happy 3:16
16. Sawmill 3:23
17. Undeveloped Country Rag 2:16
18. Bandwaggon 3:56
19. Days Before 3:28
20. I Hope We Never Get Too Serious About The Music So This Is Just A Joke 5:53
bonus: 21. Drunk and Happy (Live 1975) 3:23
Åge Aleksandersen / guitar and vocals
Per Erik Wallum / flute and vocals
Terje Tysland / guitar, accordion and vocals
Kaare Skevik jr. / drums
Johan Tangen / mandolin, congas and backing vocals
Kjell Ove Riseth / bass and backing vocals
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