genre: prog
country: argentina
quality : lossless (ape separate, log, scans)
time: 32'07" size: 204 mb
Wiki:
Espíritu is an Argentine progressive rock band founded in 1972. The group has had a very fragmented history, due to a variety of reasons. Nonetheless they were an important act during the heyday of prog-rock in Argentina in the mid 1970s, and one of the few bands from that period that are active today.
The band spent its first two years in the tour circuit, their live performances achieving some nororiety by word-of-mouth. In 1975 they would release their first LP by the name of Crisálida. It was both critically and commercially acclaimed as one of the finest Argentine symphonic rock records of the year. It was a prog-rock album with echoes from Genesis and Yes. The band was at their pinnacle: good response from both fans and the press and spectacular live shows.
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genre: kraut
country: germany
quality : lossless (ape, cue, log, scans)
time: 51'28" size: 341 mb
issue: 1998
1. Crossroads (4:49)
2. Nightingale (5:53)
3. Uptight (5:53)
4. Fly (8:50)
5. Stop, Look And Listen (9:55)
6. Autumn 71 (bonus) (4:28)
7. Are You Ready (bonus) (4:25)
8. We Love You Alice (bonus) (3:38)
9. Paradise For Sale (bonus) (3:16)
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genre: kraut revival country: germany quality : lossless (WavPack, cue, log, scans) time: 1:12'26" size: 525 mb
1. Off (5:03)
2. Dym (9:55)
3. Zwieback (6:35)
4. Bandeins Swingklar (9:20)
5. Golden Lake (8:17)
6. Gruff (11:10)
7. Hydrat (6:30)
8. Ganus Abgelaufen (15:11)
- Dirk Bittner / vocals, voices, guitar, drums, samples, Leslie, bass, vocoder, Rhodes, synthesizer - Dirk Jan Müller / hammond, farfisa, Rhodes, synths, samples, Leslie, tapes, loops, Mellotron, beatbox - Tom Rückwald / bass - Eric Karow / drums, trash percussion
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genre: kraut country: germany quality : lossless (ape, cue, log, booklet scans) time: 45'05" size: 243 mb issue: 1999
from A Guide to German Progressive & Electronic Rock : Dzyan recorded a unique kind of electric ethnic jazz-rock. The band look their name from the Indian book of creation. They formed in January 1972 as a quintet. After just two months the self-titled debut album was recorded, and then released on the minor Aronda label in April 1972. This first line-up of the band was just a studio project and promptly disintegrated. Lothar Scharf played drums in a revamped Dzyan's first live gigs, before he joined Virgo. In November 1972 Dzyan were reduced to a trio. In Studio Dierks, Stommeln, they recorded Time Machine, produced by Peter Hauke and released on Bacillus in November 1973. This was an excellent jazz-rock album consisting of four tracks. "Kabisrain" was an Eastern-oriented, ethnic number featuring saz, quite similar to Embryo. The other three tracks were electro acoustic, inspired by King Crimson and perhaps jazz records released on the ECM label. The strongest cut on the album was the 18 minute long title track. Dzyan's second album for Bacillus (also recorded by the Hauke & Dierks team) was recorded in October 1974. It had a similar style to their first, but was a bit more acoustic and Indian-flavoured. Late in 1974 Reinhard Karwatky, the last remaining original member, decided to leave the group. This concluded the story of Dzyan. Along with Embryo, Between and Agitation Free they were pioneers of the world music. Giger and Marron eventual recruited Gunter Lenz In 1976 and recorded one further album as Giger, Lenz & Marron (Niagara MIX 1011-N).
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genre: psych
country: us
quality : lossless (flac, cue, log, booklet scans)
time: 45'47" size: 319 mb
issue: 2006
Fuzz Acid & Flowes:
From Cleveland, Ohio their ultra rarities are well worth seeking out for connoisseurs of psychedelia. The first album, which was only issued as a promotional acetate, is an effective blend of keyboards and guitar. Fire Climbs is the outstanding track but there are lots of other highs on this album which is well worth searching for.
Their next effort similarly didn't get beyond the acetate stage. Even more keyboard-orientated than the first one with lots of synthesiser it perhaps inevitably leans more towards the progressive genre. A different version of Fire Climbs and the final track, Freedom Son are among the highlights and there's still some fine psychedelic guitar work in places.
Their third venture was made under the name Fun. The opening cut, Music is superb, whilst on the whole this acetate is more experimental than their earlier recordings. I Shall Stay, for example, is quite chaotic. They went on to evolve into Moonlight Drive releasing some 45s and a mini-LP with quite a lot of Doors' covers.
Kenneth Stab died in 1973.
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genre: heavy sympho prog country: italy/slovenia quality : lossless (ape, cue, log, booklet scans) time: 45'01" size: 288 mb
Gepr: Devil Doll are an Italian band who sound nothing like the archetypal Italian progressive music at all. No fusion or lush symphonics here! What they offer is a very unique blend of gothic imagery and Victorian "Jekyll and Hyde" ambience, spun over a collage of piano, tortured vocals, sinister accordion folk music interludes, choirs, violin and waltz themes. The dynamics of the music is outstanding and never clumsy ... it moves between diverse elements with skill and power. The vocals may not be to the liking of some as there is a lot of them and they are more whispered/screamed than sung, in general. They fit the music perfectly though. The Girl Who Was ... Death is a conceptual work based on the cult UK series "The Prisoner" and takes it's name from one of the episodes. It demonstrates the maturity to come and has a little more (but not much) in the way of powerful rock sections. Mr Doctor also deigns to sing normally occasionally! Lots of accordion, violin and harp. A rock opera? Both Eliogabalus and Sacreligium are excellent works of extended progressive gothic "opera," for want of a better term. Highly metaphorical story-telling is important to the band's approach ... for example, Sacreligium tells the story of a man in his grave looking back over his life, complete with the closing of the funeral as a bonus after the music has finished! Devil Doll excel at creating atmosphere with very sparse instrumentation ... Mr Doctor, the enigmatic and unidentified band leader, employs his idiosyncratic vocal style to add to this. It may sound peculiar but I can hear a Marillion influence. I know that sounds strange given the description above but Marillion hinted at this sort of style on their early albums but never pulled it off explicitly or in such a grandiose and effective manner. Don't get the wrong idea though ... Devil Doll are not what you'd call a neo-prog band at all. I'd wholeheartedly endorse the view that Devil Doll are amongst the world's finest progressive acts of the '90s.
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genre: canterbury
country: uk
quality : lossless (ape, cue, log, scans)
time: 1:11'08" size: 475 mb
issue: 1999
Wiki:
Founded in 1966 as Bruno's Blues Band by guitarist Phil Miller, his elder brother, pianist Steve Miller, drummer Pip Pyle and bassist Jack Monck, the band gigged around London for a few years. In 1968, saxophonist Lol Coxhill joined them, and the band's name was changed to Steve Miller's Delivery. In 1969, the band teamed up with blues singer Carol Grimes and bassist Roy Babbington replaced Monck. The resulting line-up recorded and released one album: Fools Meeting. Although Grimes wanted to appear as a band member, the record company released the album under "Carol Grimes and Delivery". In 1971, Pyle left the band to join Gong and was replaced by Laurie Allan (who also later joined Gong). Soon after that, the band broke up.
Phil Miller went on to found Matching Mole with Robert Wyatt and Dave Sinclair, but a new Delivery line-up was assembled in the spring of 1972 consisting of the Miller brothers, Pyle and Richard Sinclair (bass and vocals), then Steve Miller's bandmate in Caravan. The band played a few live shows in August/September that year, but with Steve Miller being replaced by Dave Sinclair (from Matching Mole and Caravan), the band changed its name to Hatfield and the North. A final Delivery performance took place in November 1972 for the BBC's Radio One In Concert series, with an unusual line-up bringing together the Miller brothers, Pyle, Babbington, Coxhill and Sinclair, the latter on vocals only.
Steve Miller went on to release two shared (rather than "duo") albums with Coxhill for Virgin's Caroline budget label in 1973/74.
Roy Babbington, who had played with the Keith Tippett Group and Nucleus in 1971-73, went on to join Soft Machine from 1973-76. Laurie Allan rejoined Gong a couple of times, most notably appearing on 1973's Flying Teapot, and later Barbara Thompson's Paraphernalia.
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 genre: hard
country: uk
quality : lossless (wavpack, cue, log, booklet scans w/lyrics)
time: 37'23" size: 1.5 gb
issue: japan
Side one
"Comin' Home" (David Coverdale, Tommy Bolin, Ian Paice) – 3:55
"Lady Luck" (Coverdale, Jeff Cook) – 2:48
"Gettin' Tighter" (Bolin, Glenn Hughes) – 3:37
"Dealer" (Coverdale, Bolin) – 3:50
"I Need Love" (Coverdale, Bolin) – 4:23
Side two
"Drifter" (Coverdale, Bolin) – 4:02
"Love Child" (Coverdale, Bolin) – 3:08
"This Time Around" (Jon Lord, Hughes)/ "Owed to 'G'" (instrumental) (Bolin) – 6:10
"You Keep on Moving" (Coverdale, Hughes) – 5:19
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genre: heavy
country: uk
quality : lossless (WavPack, cue, log, scans)
time: 37'48" size: 317 mb
issue: japan
Side one
"Highway Star" – 6:05
"Maybe I'm a Leo" – 4:51
"Pictures of Home" – 5:03
"Never Before" – 3:56
Side two
"Smoke on the Water" – 5:40
"Lazy" – 7:19
"Space Truckin'" – 4:31
Ritchie Blackmore – guitar
Ian Gillan – lead vocals, harmonica
Jon Lord - keyboard
Roger Glover – bass
Ian Paice – drums
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genre: heavy psych
country: germany
quality : lossless (flac, cue, log, scans)
time: 46'17" size: 305 mb
Cosmic Dreams:
Nosferatu has the dubious honour of having produced one of the most over-priced collector's items of the German progressive rock genre, now selling easily for 800 DEM in mint condition. Originally their album was released in France and Germany on Vogue (a French label as you know). Nosferatu formed circa 1968. An early member of the band was guitarist Michael Win, a future member of Epsilon. Opinions are mixed about this album. Some regard it as one of the best heavy progressive records to be made in Germany, others think it is quite ordinary and certainly over-rated on the collector circuit. I'm sure most will agree that it contains a raw, rough and heavy progressive style. There were still some beat and psychedelic elements evident in the music, characteristic of the first wave of German progressive rock in 1969/70. I would compare it to the first Tomorrow's Gift album, Orange Peel or Hairy Chapter. Arguably the best moments are Felke's highly talented flute and sax playing. When Nosferatu disbanded, he became a member of Epsilon. There are only six tracks in all, with plenty of organ and guitar work. The production by Tony Hendrik could have been better. A counterfeit of the album appeared In 1989 at a more reasonable price than the originals. If you're keen on heavy progressive rock, go for Armageddon and 2066 & Then first, check out Nosferatu only if you find you need some more!
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genre: blues, prog
country: poland
quality : lossless (flac separate, log, scans)
time: 36'18" size: 219 mb
issue: 2002
Wiki:
Enigmatic - Czesław Niemen's rock album released in 1970. It is considered to be the best polish rock album ever. Inspired in 1968 by Wojciech Młynarski Niemen decided to make his new album with polish poetry as lyrics. Recorded in 1969 and released in 1970 became very popular and was awarded with Golden record in 1971 (in communist Poland Golden Records were awarded for selling 160 000 album copies).
"Bema pamięci żałobny - rapsod" - 16:27 (music Czesław Niemen, lyrics Cyprian Kamil Norwid)
"Jednego serca" - 7:45 (music Czesław Niemen, lyrics Adam Asnyk)
"Kwiaty ojczyste" - 7:25 (music Czesław Niemen, lyrics Tadeusz Kubiak)
"Mów do mnie jeszcze" - 4:40 (music Czesław Niemen, lyrics Kazimierz Przerwa-Tetmajer)
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genre: heavy psych
country: germany
quality : lossless (flac, cue, log, booklet scans)
time: 1:19'30" size: 531 mb
issue: 2004
Cosmic Dreams:
Famous for their eponymous album which is sought-after by collectors World-wide, Necronomicon came from Aachen, a city near the borders with the Netherlands and Belgium. They adapted the name Necronomicon from an H.P. Lovecraft novel and built up a spectacular live repertoire during 1971. It featured complex heavy progressive song arrangements with awkward German lyrics that dealt with ecological problems, the threat of a nuclear disaster, the end of mankind and pure despair. A demo recording of a performance at the Mensa, Aachen, 1971, was unearthed by the archaeologists at Little Wing and released as parts one and two of their lavish 4-LP + book Necronomicon-set (LW 1010/11/12/13), released in 1990 in co-operation with the band. Part one consisted of previously unheard compositions and part two of different versions of the songs that later would appear on their only album: Tips Zum Selbstmord. Necronomicon proved themselves to be a band with the same seriousness and sense of large scale works as the most extreme Italian bands. Sadly, the technical quality of these early recordings was on the same level as certain bootlegs and the performance a bit rough in places. Even so this historic document is absorbing.
With the economic support of a friend, Necronomicon set off to a semi-professional studio in the Netherlands to record (in March and April 1972) what has become the ultimate collector's item for purveyors of German progressive rock: Tips Zum Selbstmord, released in a lavish multi fold-out cover, in the shape of a cross. The highly talented drawings were done by Harald Bernhard and pictured tortured bodies and painful faces, building up an intricate whole, reminiscent of some nightmarish Hieronymus Bosch work (but no fantasy monsters!). Few would deny that this is one of the best and most unique German records of the early seventies. ...
There were biting guitar leads throughout, shimmering, painful vocals, a garage organ trying to battle with Bach, sudden shifts of tempos and moods, including passages of more primitive heavy garage rock. For the want of hotter comparisons: imagine the best elements of vintage Uriah Heep with the lyrical awareness of a political rock band like Floh de Cologne. Perhaps this is the music that Wagner would have made if he had lived in 1945 and experienced the bombing raids over Germany, freaked out in the sixties and decided to be a rock musician and then had bad trips for years due to the daily news on TV! Remarkably enough, the album was recorded on just two backs, approximately recorded live in the studio. It was released in a limited edition of 500 copies and is probably THE most hunted German record. The odd copy that turns up sells easily for 1,700 OEM or more. It is cheaper to purchase it as part 3 of the Little Wing 4 LP box! From 1972 to the end of 1973 the group worked on new material with a revised line-up: guitar player Walter Sturm quit to join Rufus Zuphall, Fistus Dickmann was replaced with Dieter Ose and Detlev Hakenbeck replaced by Gerd Libber. Some of the new compositions lasted for sixty minutes! In fact, such material proved to be almost impossible to play live, and the songs were consequently edited down to a length of 10 to 15 minutes. As such, they were recorded live in their rehearsal room in 1974. Walter Sturm had now returned to the band. Little Wing compiled 45 minutes from the only remaining source, a low quality cassette. It's only interesting for collectors as another historic document of their development. The desperation had now faded to mere resigned statements about mankind's cynical nature. As such they were now closer to other refined political rock bands.
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