genre: canterbury
country: uk
quality : lossless (flac, cue, log, scans)
time: 1:19'03"+1:19'26" size: 972 mb
Gepr:
Stated simply: Get something from this band! National Health was the brain child of Dave Stewart (no, not of the Eurythmics) and Alan Gowan. The group developed in 1975 in response to the end of "thinking man's" rock music. In the liner notes for the CD, Stewart describes National Health as ."..a large scale rock ensemble playing intricate, mainly instrumental music," a far better description than I could derive. To paraphrase Stewart, the Ramones they are not! The music is strongly structured and composed, not at all free form, but not sounding forced, either. Within a composition, the music develops well and easily flows from one section to another, continuously developing the theme and sounding coherent the entire time. The first two albums represent the band during their peak, despite many troubles that beset the band and its members during that time (humorously elucidated by Stewart in the liner notes.) Song lengths range from eight seconds ("Phlakaton" - an obligatory drum solo, but far from what you would expect from such a solo) to 14'32 for both "Elephants" and "Tenemos Roads" (."..an epic about ancient civilizations on Planet Mercury..."), and intricate they are. To put on one of these tunes simply for background music is to do it and yourself injustice. The music is quite involved and complex - instrinsic, indeed! Both key modulations and time changes abound. I'm not sure there is a 4/4 time signature on any tune, and I know (from the liner notes) that part of "Elephants" has a moog solo over a 25/8 rhythm. Not a tune you tap your foot to while doing other things. One listen to "The Collapso" (or the even better "Apocalypso") will make you sit up and pay attention. "The Apocalypso" is one of my favorite cuts (most favorite goes to "Tenemos Roads") on the CD and also one of the least serious. It is a rewritten and extended version of "The Collapso," recorded in 1990. If there is an apocalypse, this is how it will sound and it *WILL* be fun. Though quite detailed, the compositions never made me feel like the musicians were just trying to fit in another note or move to another time signature "just because they could." National Health's third and final release, D.S. al Coda, is a tribute to Alan Gowan, who died in 1981. All compositions, with the exception of "Arriving Twice" and "TNTFX" (both by Gilgamesh, Gowan's prior band) were written by Gowan. These tunes are decidedly jazzier and noticably shorter, on average. Though "I Feel A Night Coming On" fits well in the old vein, these songs represent more the direction of Gowan and not National Health. I spend most of my ear time listening to the band's first two releases, however, because I feel they are much more involved than Gowan's compositions. This band and CD are currently on my all-time top ten and are there they are likely to remain.If you have ever listened to Egg or Hatfield and the North, you'll have a feel for the music style of National Health. If you haven't, then I strongly recommend that you get this CD, then pick up some Egg and Hatfield. Shoot, pick up nearly anything with Dave Stewart (with the possible exception of Stewart/Gaskin) on the keys. You will not be disappointed. -- Mike Taylor
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genre: garage, punk
country: us
quality : mp3 (320k, scans)
time: 44'47" size: 103 mb
Wiki
01 Introduction to The Mummies 0:28
02 In & Out 1:48
03 A Girl Like You 2:20
04 I'm Gonna Kill My Baby Tonight 2:04
05 I'm Bigger Than You 1:53
06 (I Should Better Be Lookin' For) 2:29
07 Die! 2:41
08 That Girl 1:33
09 Test Drive 1:32
10 Stronger Than Dirt 2:15
11 Food, Sickles & Girls 2:22
12 Your Love 1:45
13 Down Home Girl 3:28
14 (Doin') The Kirk 2:02
15 Babba Diddy Baby 2:01
16 That's Mighty Childish 2:00
17 Just One More Dance 1:53
18 The House On The Hill 2:40
19 (You Must Fight To Live) On The P 2:56
20 One By One 2:13
21 Zip A Dee Doo Dah 2:25
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genre: glam
country: uk
quality : lossless (ape, cue, log, scans)
time: 1:08'49" size: 405 mb
Tapestry of Delights:
Mud were formed back in February 1966 by Les Gray and Dave Mount, who both came from Carshalton, Surrey, and had played in several previous local groups. In particular, Les Gray had earlier played with his brother Peter in a group called The Mournes and it seems that Peter (and not Dave Mount) was in the very early line-ups of Mud. With Dave Mount on board, they added two other Carshalton lads, Davies and Stiles, to the line-up and, after a debut appearance at Streatham Ice Ring, recorded their first 45 for CBS, Flower Power, in 1967. Some copies came in picture sleeves and it is now their most collectable artefact. They continued on a semi-professional basis until April 1968, when they turned professional and released their second and final single for CBS, Up The Airy Mountain, which like their follow-up single for Philips, Shangri-La, the following year, is not too easy to find either nowadays. By now an appearance on BBC's 'The Basil Brush Show' had introduced them to a wider audience, but it was really their link up with songwriter Nicky Chinn and Mike Chapman (the team behind The Sweet) which was their big break giving them a string of commercially successful (if ordinary often to the point of boring) pop singles beginning with Crazy in 1973. The most memorable of these were Tiger Feet, which topped the UK Charts for four weeks and led briefly to a new dance craze and Lonely This Christmas, an Elvis Presley pastiche, which became a classic Christmas record.
They split with Chapman and Chinn in 1975, but by then they were such a household name that their self-produced singles for Private Stock also made the Charts.
Post-1976 they signed to RCA for whom they recorded into the eighties, though in March 1977 Gray signed to Warner Brothers as a solo artist. As late as 1985 they were playing on the cabaret circuit when, in December of that year, a reissued version of Lonely This Christmas re-entered the UK charts, climbing to No 61. In the late eighties Stiles joined The Hollies.
Commercially they were extremely successful (in the UK, they never cracked the US market) but their significance in the evolution of rock is slight.
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genre: psych, fusion country: germany quality : mp3 (128k, covers) time: 34'39" size: 33 mb
the Crack in the Cosmic Egg: Motherhood was the unlikely name of Klaus Doldinger's psychedelic fusion band, who eventually transmuted into the bands Passport (Doldinger, Meid and Lindenberg) and Hallelujah (Vincent and Forsey). The debut, is pretty dated and chintzy pop 'n' soul sounds done with a psychedelic jazzy flair, all instrumental and largely is covers of well-known hits alongside a couple of originals in the same vein. A step on from Doldinger's "Paul Nero" project, but not really of much interest. The second album saw three new members join, and is often comparable to British rock fusion bands like Colosseum and early Nucleus in many ways, in which Motherhood covered a wide range of styles from psychedelic pop through to jazz-rock. A nice album, and very much a product of the era, showing promise of greater things to come.
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genre: garage, psych
country: japan
quality : lossless (wv tracks, no cue & log, scans)
time: 1:01'55" size: 4427 mb
issue: 2002
Wiki
01. I Can't Wait 3:13
02. San Franciscan Night 3:59
03. I Am Just A Mops 3:01
04. Inside Looking Out 5:52
05. The Letter 2:17
06. Blind Bird 3:00
07. Somebody To Love 2:48
08. Hurry Up Bera 2:33
09. White Rabbit 2:47
10. Goodbye The Morning Sun 2:29
11. Light My Fire 6:04
12. Unforgettable Memory 3:18
bonus:
13. All Of You 1:59
14. I Can't Get Hot! 3:29
15. Lijanaika 3:22
16. Sleep, Jesus 3:53
17. No Umbrellas 4:49
18. I Can't Wait (70s Version) 3:00
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genre: bluesy fusion
country: germany
quality : lossless (flac, cue, log, booklet scans)
time: 37'00" size: 236 mb
issue: 2002
Missus Beastley were among the earliest bands of the new progressive rock wave, being founded in Herford in 1968, recorded their debut album in January 1970 with Hansi Fischer (flute, from Xhol, later Embryo) and Dieter Serfas (pereussion, from Amon Duul II). This was a glimpse into early German underground jazz-rock with lots of flute, psychedelic organ and guitars. The band could be compared to Xhol and Embryo. Soon after the recordings finished, Missus Beastley expanded to become a sextet with Paul Vincent and Michael Scholz. Half a year later, Vincent was replaced by Roman Bunka and a seventh member, Jurgen Benz, joined. By the end of the year, the band were bankrupt and their activities terminated. Nothing more was heard from Missus Beastley until Autumn 1973, when reformed the band and went on tour in Germany. This quintet also recorded an album for Nova in 1974, containing a slick, funky jazz-rock, totally different to the previous album. Lutz Oldemeier and Miekautsch left in 1975 to be replaced by Butze Fischer and Burkard Schmidt. In the interim, Jim McGillivray of Epitaph drummed three months for Missus Beastley. Along with Embryo, Ton Steine Scherben and Sparifankal, Missus Beastley founded the independent record company April.
Dr. Aftershave & The Mixed-Pickles (1976) became the second release: on this label (Sparifankal's Bayern Rock being April 0000). This was a distinct improvement on the half-hearted Nova album, recorded with three talented guests from Embryo: Roman Bunka, Maria Archer (vocals) and Christian Burchard (vibraphone).
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