Oldish Psych and Prog

genre: prog
country: uk
quality : lossless (ape, cue, log, scans)
time: 40'10"
size: 226 mb

Lyrics in Wiki

side A:
The Journey/Recollection - 21:10
side B:
The Battle/The Forest - 18:57

Rick Wakeman - Synthesizers
Gary Pickford-Hopkins, Ashley Holt - vocals
David Hemmings - Narrations
Mike Egan - Guitar
Roger Newell - Bass
Barney James - drums
London Symphony Orchestra
The English Chamber Choir
David Measham - Conductor

... Read more »

genre: rock
country: uk
quality : lossless (ape, cue, log, scans)
time: 1:18'47"
size: 446 mb
misc.: unreleased recorded '68/'69

Review by Richie Unterberger
Although it was recorded in 1969, this album was not released at the time (although a few were circulated in the US in 1971 before it was withdrawn due to contractual reasons). By the late 1960s the band were firmly under the creative direction of Ray Fenwick, who played lead guitar, sang lead vocals, and wrote all of the songs. Needless to say it was such a change from the Stevie Winwood days that it was in essence an entirely different group, playing competent but faceless period music that echoed trends in country-rock, Traffic-like soul-progressivism ("What a Way to Die"), and heavy blues. The CD reissue has ten bonus tracks from the same era, taken from TV and radio sessions, studio outtakes, and a live recording from the 1967-68 era. These have a slightly more interesting, though not very distinctive, psychedelic-pop air; all of them, however, were previously released on RPM's Taking Out Time compilation.

genre: heavy country
country: us
quality : lossless (flac, cue, log, scans)
time: 1:06'51"
size: 417 mb
issue: 1999

Tom Fogerty in Wiki

 1st:
"The Legend of Alcatraz" – 2:35
"Lady of Fatima" – 4:27
"Beauty is Under the Skin" – 2:29
"Wondering" – 2:31
"My Pretty Baby" – 2:24
"Train to Nowhere" – 3:39
"Everyman" – 2:11
"The Me Song" – 2:26
"Cast the First Stone" – 2:11
"Here Stand the Clown" – 2:52

Tom Fogerty - guitar, harmonica, vocals
Rodger Collins - vocals ("Train To Nowhere")
Russ Gary - guitar
John Kahn - bass
Billy Mundi - percussion
Merl Saunders - keyboards, vocals
Bill Vitt - drums, congas

Excalibur :
"Forty Years" – 3:40
"Black Jack Jenny" – 2:30
"Rocky Road Blues" – 3:56 (Bill Monroe)
"Faces, Places, People" – 3:55
"Get Funky" – 1:54
"Sick And Tired" – 4:20 (Chris Kenner and Dave Bartholomew)
"Sign Of The Devil" – 2:37
"Straight And Narrow" – 3:48
"Next In Line" – 2:16
"(Hold On) Annie Mae" – 3:49

Tom Fogerty - guitar, harmonica, vocals
Jerry Garcia - guitar
Merl Saunders - keyboards
John Kahn - bass
Bill Vitt - drums

... Read more »

genre: psych
country: uk
quality : lossless (flac, cue, log, scans) & mp3 (320k, cover)
time: 54'08"
size: 363 mb


01. introsuction 0:48
02. Vampire club 3:44
03. SAS 7:15
04. Africa 6:05
05. Maybe my soul 5:21
06. In this love 4:36
07. Confession 2:52
08. Vampire love 5:58
09. Completion 0:26
10. Divers 3:43
11. Re vamp your soul 4:05
12. Isness is my business 2:30
13. Stay 6:45

- Arthur Brown / vocals
- Mark Brzezicki / drums
- Josh Philips / keyboards
With :
- Richard Studholme / bass
- Roger Manning / guitar

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genre: fusion, canterbury
country: belgium
quality : lossless (ape, cue, log, covers)
time: 56'41"
size: 310 mb
issue: 1996

Gepr:
Excellent Canterbury-inspired Belgian band, led by guitarist/flutist Daniel Schell, which featured the unique vocal talents of Pascale Son (Schell's wife). Each of the two recordings I have by Cos have their own sound. The first, Postaeolian Train Robbery is a personal favorite. The extensive liner notes included in the Musea CD reissue make it very plain that Cos were admirers of French progressive bands such as Zao and Magma, and their muscial influence is obvious on Postaeolian Train Robbery. The music on this CD is weird jazzy fusion comparable to the first couple of Zao albums (esp. Z=7L and Osiris), only Cos had a whimsical, goofy edge that Zao (and Magma) lacked. The Musea reissue also includes 4 tracks by Schell's previous group Classroom, which had a similar sound to Cos, only more straight-ahead jazzy and less interesting. The second album, Viva Bomma is more overtly influenced by Canterbury bands such as Caravan, Hatfield and the North, and Gilgamesh. Pascale Son's sweet vocals are again prominent and, at times, give the music an almost pop sort of sensibility. Aside from that, the keyboards sound like Dave Stewart minus the fuzz organ (I wish that dreadful 'string synthesizer' sound could somehow be eliminated!), the drummer sounds very much like Pip Pyle, and there's even a Hugh Hopper-styled fuzz bass feature on one cut. Very good, but also very derivative. Several members of Cos went on to other interesting projects: keyboardist Marc Hollander formed the excellent 'Aksak Maboul', and guitarist Daniel Schell formed an interesting band named Karo (just like the corn syrup) which recorded two albums for Crammed Discs in the late 1980s. -- Dave Wayne

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genre: psych, canterbury
country: uk
quality : lossless (WavPack, cue, log, booklet scans)
time: 1:14'03"
size: 361 mb
issue: 2002 mono & stereo

side A:
"Place of my Own" – 4:00
"Ride" – 3:41
"Policeman" – 2:45
"Love Song with Flute" – 4:09
"Cecil Rons" – 4:05
side B:
"Magic Man" – 4:01
"Grandma's Lawn" – 3:23
"Where but for Caravan Would I?" (Sinclair, Hastings, Coughlan, Sinclair, Hopper) – 9:01
2002 bonus:
17. Hello Hello (Single Version) 3:14

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genre: prog
country: uk
quality : lossless (WavPack, cue, log, booklet scans)
time: 1:07'55"
size: 387 mb
issue: 2002

Tapestry of Delights:
Pete Bardens was actually a veteran R artist. He played with Them, Peter B's, Shotgun Express and Village before forming Camel in 1972. He also recorded several solo albums. The other three members had previously played together in a band called Brew and also worked with Philip Goodhand-Tait.
It was the instrumental album, The Snow Goose, which really put the group into the big time. It was inspired by Paul Gallico's novel 'The Snow Goose' and was undoubtedly one of the finest classical-influenced albums of the seventies - beautifully soothing and relaxing in places. They also performed it live at the Albert Hall in October 1975, backed by the London Symphony Orchestra conducted by David Bedford.

genre: prog, medieval
country: uk
quality : lossless (ape, cue, log, scans)
time: 41'43"
size: 191 mb
issue: russia

Tapestry of Delights:
Vocalist, guitarist and songwriter Tony Durant was the creative force behind their obscure progressive folk album. The lyrics were influenced by English novelist and poet Mervyn Peake and supplemented by a lush violin and cello backing. Worth investigation.

1. Gone With The Mouse (4:59)
2. A Tiny Book (8:03)
3. Another Nail (6:57)
4. Shoes And Ships (6:14)
5. The Nothing Song (8:23)
6. Me And My Kite (2:34)
7. Just Anyone (3:33)

 - Tony Durant / acoustic & electric guitars, vocals
- Michael Day / bass
- Michael Gregory / drums, percussion
- Janet Rogers / violin, backing vocals
- Madeleine Bland / cello, piano, harmonium, backing vocals
- Vanessa Hall-Smith / violin, backing vocals

... Read more »

genre: folk
country: uk
quality : lossless (flac, cue, log, booklet scans)
time: 48'00"
size: 269 mb

Tapestry Of Delights:
This folk-rock group was formed by Australian Trevor Lucas when his previous group Eclection split. His then girlfriend, Sandy Denny, left Fairport Convention to set up the new band with him. However, despite Sandy being at the peak of her popularity - she was voted Britain's No 1 girl singer in a Melody Maker poll in 1970 - the band was relatively short-lived, lasting from March 1970 - January 1971, because it didn't enjoy the commercial success one might have expected. Sandy then embarked on a solo career before rejoining Fairport Convention in 1974. Donahue, Conway and Donaldson (who'd previously been with Zoot Money) became part of Mick Greenwood's backing group and Trevor Lucas became a producer for Island Records.
The Fotheringay album is by now considered to capture Denny's vocals at their best. Trevor Lucas (her husband) also sings on a lot of the tracks and provides a distinct contrast to her vocals. Sandy is probably at her very best on the exquisite traditional song Banks Of The Nile.

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genre: beat, garage
country: canada
quality : lossless (flac,cue, scans)
time: 58'33" size: 382 mb

Dreams Fantasies & Nightmares:

Formerly known as The Shades Of Blonde, who put out one 45, All Your Love, they formed in Calgary, Alberta, in 1966. Line-up 'A' signed with Gaiety Records, an intriguing operation run by Don Grashey out of Hollywood, California and Thunder Bay, Ontario. Their first two 45s, which came out on RCA, are now sought-after. Both prime examples of Prairie garage-punk, they were minor hits in Canada. The follow-up, Blue Bonnie Blue, did little to advance their course, but the guy who wrote the song for them and the women he'd written it about later made the big time as Delaney and Bonnie! Around the same time, Dave Petch left the band and Dave Downey came in for Mick Woodhouse on bass. A second, previously unreleased, Delaney song, co-written by Bonnie and bassist Carl Radle, Up To No Good later figured as a bonus track on a CD reissue of their album.

With success on the horizon they moved to Hollywood to record the album which has some strong songs and good guitar work. It's a diverse effort with soul, country, garage, rock and psychedelic influences. Close The Barn Door is the most immediate track but Twilight Woman is a very pleasant song, which just made the Canadian Top 50. Its success had lead to the recording of the album. The follow-up to Twilight Woman, another slice of melodic mild-psychedelia Now That I'm A Man, became their biggest hit. It climbed to No. 30 on 27th September 1969 and spent three weeks in the Top 40.
 

genre: psych
country: uk
quality : mp3 (256k, covers)
time: 42'01"
size: 81 mb
issue: 1992 Background

Tapestry of Delights:
An absolute mega privately-pressed rarity - 99 copies were pressed originally and these change hands for around £800. Its value is entirely due to its rarity: the vinyl contains pleasant enough concept pop with taints of psychedelia but it's nothing to rave about.
All the words and music on the album were written by John M. Hudson, who handled the vocal and instrumental arrangements with the group. Chris Parren later played piano on George Michael's Careless Whisper.
The Swank reissues (only a little over 100 were pressed) weren't taken from the original master tapes, which can't be traced and inevitably the quality suffers as a result. These, too, are now rare, but beware this album is no lost psychedelic nugget. The sound quality on the Background CD release is better, however.
 

genre: country, pop
country: us
quality : lossless (WavPack, cue, log, scans)
time: 1:07'23"
size: 389 mb

01. She Belongs To Everyone But Me 3:43
02. Somewhere Tonight 2:33
03. Baby, How'd We Ever Get This Way 2:14
04. Too Much Honky Tonkin' 3:04
05. Midnight Magic Woman 3:31
06. My Abandoned Heart 2:33
07. She's a Friend of a Friend 2:48
08. Louisiana 2:19
09. Cheating Kind of Love 4:17
10. Why Must the Ending Always Be So Sad 2:44
11. That's When You Know It's Over 2:26
12. You 1:59
13. I Swear I Don't Miss Her Anymore 1:59
14. She's a Hell of a Deal 2:35
15. Another Shade of Grey 3:04
16. Damned If I'll Be Lonely Tonight 4:19
17. If Something Should Come Between Us 3:10
18. When You're Giving Yourself To a Stranger 3:31
19. Run To the Night 2:49
20. Coast To Coast 3:18
21. Closer To You 2:57
22. True Love Never Runs Dry 2:13
23. Tell Me It Ain't So 3:18

genre: blues
country: uk/us
quality : lossless (WavPack, cue, log, booklet scans) & mp3 320k
time: 53'27" + 50'01"
size: 576 mb
issue: 1998 2cd

Wiki:
Blues Jam In Chicago Vols. 1 & 2 was the result of a recording session in early 1969, at Chess Records in Chicago (home to Muddy Waters, Howling Wolf, et al.) with Fleetwood Mac, then a British (electric) blues band, and some of their Chicago blues mentors.
Fleetwood Mac: Jeremy Spencer (vocals, guitar, slide guitar); Danny Kirwan (vocals, guitar); Peter Green (vocals, guitar); John McVie (bass guitar); Mick Fleetwood (drums).
Mentors: Otis Spann (vocals, piano); David Honeyboy Edwards, Buddy Guy (guitar); Walter "Shakey" Horton (harmonica); J. T. Brown (tenor saxophone); Willie Dixon (acoustic bass guitar); S.P. Leary (drums)
 

genre: beat
country: uk
quality : lossless (flac, cue, log, booklet scans)
time: 58`31" + 56'46"
size: 468 mb
misc.: 2cd compil.

Tapestry of Delights:
The roots of this band lie in two Harrow County Grammar School bands, The Madisons (who included Glover, Lander and Shields in their personnel) and The Lightnings (who featured the Carter-Dimmocks and Andy Ross). As the members of both bands began to leave school and drift away from the bands the remaining members decided that their best chance was to merge, which they did in October 1963 as The Lightnings initially, although by July 1964 they had changed to the rather more hip name of Episode Six. They got plenty of live work including a four week assignment at a Frankfurt club. Their music was essentially melodic ballads with lavish harmonies, but after the Frankfurt trip they underwent their first line-up change when Andy Ross quit the music business to get married. His replacement was one Ian Gillan, who, of course would go on to find fame and fortune with Deep Purple and later form his own band.
Their first 45, Put Yourself In My Place, was a Beatles-influenced song, although a catchy Roger Glover song was used on the flip. The follow-up, I Hear Trumpets Blow, was a cover of an old Tokens song and again a self-penned number, this time by drummer Harvey Shields, was used on the flip. Their third 45 was a very good cover of The Beatles' Here, There And Everywhere with another Roger Glover song on the flip. There is a very rare French EP which contains their second and third singles. This changes hands for a lot of money. Still the sad fact was that after three singles the band had made little impact and their manager, Gloria Bristow, decided to try something different - a pretty awful cover of Charles Aznavour's I Will Break Your Heart which was credited to Sheila Carter and Episode Six and did nothing to assist the band's cause.
The band spent the Christmas of 1966 working in Beirut and some Eastern influence is evident on Love, Hate, Revenge, which was their next 45 release and one of their better offerings. After their next effort, a cover of Tim Rose's Morning Dew, Harvey Shields left the band to form a duo with a belly dancer he'd met during their spell in Beirut. He was replaced by John Kerrison. 

genre: prog
country: uk
quality : lossless (ape, cue, log, booklet scans)
time: 50'16" size: 264 mb
issue: 2004

"Bulb" – 0:09
"While Growing My Hair" – 4:02
"I Will Be Absorbed" – 5:11
"Fugue In D Minor" – 2:49
"They Laughed When I Sat Down At The Piano…" – 1:21
"The Song Of McGillicudie The Pusillanimous (or don't worry James, your socks are hanging in the coal cellar with Thomas)" – 5:07
"Boilk" – 1:04

"Symphony No. 2" – 23:58
Movement 1
Movement 2
Blane
Movement 3
Movement 4

"Seven Is A Jolly Good Time" – 2:47
"You Are All Princes" – 3:45

Dave Stewart - organ, piano, tone generator
Mont Campbell - bass, vocals
Clive Brooks - drums

... Read more »

genre: psych
country: uk
quality : lossless (flac, cue, log, scans)
time: 40'17" size: 242 mb

Tapestry of Delights:
Managed by Rolling Stone, Bill Wyman, both Charlie Watts and Nicky Hopkins played on a track a piece on the Introspection album, which is very much a product of the psychedelic late sixties and is good. Dreamworld and Don't Take Me have sleepy harmonies, and other tracks like What Does It Feel Like? have some nice organ work. However, success eluded them and they eventually evolved into Tucky Buzzard who made three albums produced by Bill Wyman in the 1970's.
Dave Brown and Colin Griffin formed The End in 1965 following the demise of The Innocents. Nicky Graham and John Horton were drafted in from Dickie Pride's backing group The Original Topics, and the line-up completed by former Tuxedos drummer Roger Groom. They set about recording at R.G. Jones' Morden studio, and Bill Wyman arranged for them to tour with The Rolling Stones to coincide with their first 45. They also appeared with Spencer Davis on ITV's 'Thank Your Lucky Stars' playing Hallelujah I Love Her So. Following the tour Roger Groom quit, to be replaced by Hugh Attwooll, a former schoolfriend of Nicky Graham. John Horton also quit although the split was amicable and he helped out on their second single Shades Of Orange. Cut by Bill Wyman during the sessions for The Rolling Stones' Their Satanic Majesties Request album, the song, has an almost hypnotic, dreamlike quality, and featured Charlie Watts on tabla.

genre: prog
country: uk
quality : lossless (WavPack, cue, log, booklet scans)
time: 1:11'52"
size: 531 mb

01 -Karn Evil 9 5:26
02 -Tiger In A Spotlight 3:34
03 -Hoedown 4:57
04 -Touch & Go 4:12
05 -Knife Edge 6:12
06 -Bitches Crystal 4:30
07 -Honky Tonk Train Blues 3:42
08 -Take A Pebble 7:10
09 -Lucky Man 5:06
10 -Fanfare For The Common Man/Blue Rondo A La Turk 22:11
11 -21st Century Schizoid Man/America 4:52

genre: prog
country: uk
quality : lossless (WavPack, cue, log, scans)
time: 43'52"
size: 292 mb
issue: 2005 japan, compil.

Wiki:
Works Volume II is an album released in 1977 by Emerson, Lake & Palmer. Unlike Works Volume I (which consisted of three solo sides and one ensemble side), Volume II was a single album which seemingly was a compilation of leftover tracks from other album sessions that had not made those albums. While many derided the album for its apparent lack of focus, others felt it showed a different side of the band, with blues, bluegrass and jazz being very prominent as musical genres in this recording.
"When The Apple Blossoms Bloom...", "Tiger In A Spotlight" and "Brain Salad Surgery" had been recorded at the 1973 sessions for the album Brain Salad Surgery but did not appear on it - rather strangely in the case of the latter. Volume II also included a stripped-down version of Greg Lake's "I Believe in Father Christmas". An orchestral version of the song had previously been released as a solo Lake single in the UK and became something of an annual Christmas standard there.

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genre: prog
country: italy
quality : lossless (flac, cue, log, booklet covers)
time: 78'32"+77'18"+78'58"
size: ~ 1,5 gb
misc.: compilation

GibraltarEPR:
THE classic Italian band, certainly the best-known. Their first three Italian albums are all must-haves. Storia di un Minuto is a very striking debut. Their music is very symphonic, mixing influences from King Crimson and Genesis mostly, but in the end arriving at something not like anything before, and providing the mould for many other Italian and other European bands. Guitarist Franco Mussida is most obviously classically trained, keyboardist/main vocalist Flavio Premoli's playing ranges from gentle piano etudes to wailing Moog. Adding a distinctively Italian flavour is flute/violin player Mauro Pagani. The mixture works best on tracks such as the beautiful "Impressioni di Settembre" and the exuberant "E' Festa". Per Un Amico is an equally fine album, neatly balancing between gentle contemplation and bouncy melodicism, never getting especially heavy, but consistently interesting and lovely. Photos Of Ghosts is a poorly remixed version of Per Un Amico, with English lyrics by Peter Sinfield, who obviously didn't know what the original Italian lyrics were, and didn't seem to care. Some of the songs are reedited and stuck elsewhere, vocals are added to the instrumental "Generale!" (retitled "Mister Nine-Till-Five"), and there's even a wimpy re-recording of "E' Festa" called "Celebration". PLEASE get Per Un Amico if you can, Photos Of Ghosts is NO substitute! L'Isola Di Niente features a minor personnel change, their original bass player is replaced by ex-Area (!) member Jan Patrick Djivas. It's certainly their finest hour, with the breathtaking title-track beginning the album with a BIG bang. The intricately multilevelled "Four Holes In The Ground" is a classic, and became a concert favourite (not hard to see why!). "Via Lumiere" is a fine fusion-y instrumental, while "Dolcissima Maria" is a beautiful ballad. Even the English-language (again with Sinfield lyrics) "Is My Face On Straight?" is excellent. If you're just starting out in Italian prog, this is one to get! The World Became The World is another English-language album, but this time with the same music, so it's not as bad as Photos Of Ghosts. Again there is a re-recording of a song from the first album: the title song is "Impressioni di Settembre" with English lyrics. Cook is a high-quality live album recorded in Canada and the US, and is the same as the erroneously titled Italian album: Live in U.S.A.. Marconi Bakery is a compilation of music from the first three Italian albums. Later albums feature ex-Acqua Fragile leader Bernardo Lanzetti on lead vocals. I haven't heard these, but from what I've heard of Lanzetti, I'd expect these to be less listenable than the early albums. -- Mike Ohman
 

genre: garage, beat
country: us
quality : lossless (flac, cue , log, covers)
time: 42'02" size: 240 mb
misc.: live

Fuzz Acid & Players:
The origins of this Portland, Oregon band go back to 1957 when Lynn Easton and some of his pals from David Douglas High School formed a band which played at local dances and fairs and was a little unusual for featuring a small church type organ in its act. This phase in their career lasted until about 1962 when they got one of their early breaks. Ken Chase, Musical Director for KISN spotted them playing at a Portland teen club called The Headless Horseman and offered them a residency at his own bigger club, The Chase. They remained the house band there for a whole year. Then in 1963 Ken Chase helped them cut some audition tapes at the Old Northwest Recording Studio. Among the cuts recorded was Louie, Louie. Recorded under extremely primitive conditions it gave them a No 2 in the U.S. and reached No 26 in the UK, although Paul Revere And The Raiders' version (recorded the same week in the same studio) actually faired better in the Northwest. Chase had originally persuaded Jerry Dennon to release the song on his own Jerden label but later the group were signed by Wand becoming the first white act on what had been an all black label.
Louie, Louie sold over seven million copies legally and a few more were pirated. The Kingsmen were extremely successful enjoying eight singles in the Top 100 and five Top 100 albums in the Billboard charts, selling over 20 million records in all. Of their albums (1), (2), (3), (4) and (5) peaked at Nos 20,15, 22, 68 and 87 respectively. All five are now becoming mini-collectables.
Lynn Easton left the group in July 1967, the remaining members soldiered on until September 1968. There was a reformation in 1972 (line-up D) - Freddie Dennis had previously played with The Liverpool Five - and later in 1982 (line-up E), although they played mostly for fun. Norm Sunholm set up the Sun Amplifier Company with his brother using The Kingsmen as a testing ground for their products. Jack Ely is still in the music business in Portland and, since leaving the band, Lynn Easton has hosted a teen dance show, worked in advertising and most recently as a printing salesman. The band's stature as America's premiere garage band shows no sign of diminishing. Don Gallucci, went on to fame by forming Don & The Goodtimes and later Touch.
 

genre: harmony psych
country: us
quality : mp3 320k, scans
time: 38'50"
size: 93 mb

Fuzz Acid & Flowers:
When Barbara Keith and N.D.Smart relocated from Boston to Washington DC, they teamed up with local heroes John Hall and Ted Spelios (ex British Walkers), who were based in the downtown area. Kangaroo played at the Peppermint Lounge during their short lifespan.
Basically their album's a country-rock influenced collection with some rather over-enthusiastic lead guitar. It does have two outstanding tracks which feature the beautiful vocals of Barbara Keith (the only two that do). Certainly an album that's worth a listen. John Hall was later with Orleans whilst, prior to Kangaroo N.D. Smart II had played with several bands including The Mark V, The Knights, Thee Rubber Band, The Remains {1966}, The Bait Shop and Bo Grumpus before joining Kangaroo in 1968. Whilst with Kangaroo he met the performance troupe The Hello People at the Cafe Wha? and worked with both groups for a while. In 1969 he left to work with Leslie West and was in the initial Mountain line-up, before joining Great Speckled Bird {1969-72}, and it's Woodstock based spin-off Hungry Chuck {1971-72}. In 1972 he worked with The Hello People once again.
Barbara Keith wrote Free The People, the Delaney and Bonnie hit and also released an excellent eponymous solo album in 1969 on Reprise, with one of the best versions of All Along The Watchtower and the participation of Lowell George and N.D. Smart II. Ted Spelios later played with Holy Moses.
... Read more »

genre: psych
country: uk
quality : loss (flac, cue, log, scans)
time: 1:01'06"
size: 113 mb

01 - The Game 13:43
02 - The Spirit Lives 4:15
03 - Grown ups Are just Silly Children 2:56
04 - Referendum 3:49
05 - Forget me not 2:25
06 - Hallucinating Light 6:25
07 - When an Old Cricketer Leaves the Crease 7:29
Bonus tracks on 1995 CD reissue:
08 - The Spirit Lives (early mix 23-3-75) 4:37
09 - When an Old Cricketer Leaves the Crease (live Exeter 31-10-77) 7:52
10 - Hallucinating Light (7" single v.) 7:34

Roy Harper – vocals, guitar
David Gilmour – guitar on "The Game"
John Paul Jones – bass on "The Game"
Steve Broughton – drums on "The Game"
Chris Spedding – guitar
Bill Bruford – drums
Dave Cochran – bass
The Grimethorpe Colliery Band – brass on "When an Old Cricketer Leaves the Crease"
Recorded at EMI Studios, Abbey Road
 

genre: folk, psych
country: uk
quality : mp3 160k, cover
time: 42'33"
size: 51 mb
issue: Holyground

Tapestry of Delights:
Another of these ultra rare privately-pressed albums, this was one of the rarest released on the Wakefield-based Holyground label but was recorded by a local college band. Only 99 copies were pressed and according to 'Record Collector', it begins with a couple of dull folk instrumentals before going through some wholly unexpected and bizarre changes; long before the end it becomes completely uncategorisable!

genre: prog
country: uk
quality : mp3 (320k, covers)
time: 41'40" size: 142 mb

Tapestry Of Delights:
Something of a 'supergroup' since Jones came from Amen Corner and Bown and Spinetti from The Herd. Like most 'supergroups' they manifestly failed to live up to all the hype and only lasted for a couple of years. Their album was basically heavy progressive rock with lots of guitar, flute, sax and mellotrons.
Bown later joined Storyteller before embarking on a solo career. He later joined Status Quo. Spinetti went into session work although he was later in several other bands.
 

genre: opera
country: uk
quality : lossless (ape, cue, log, covers)
size: 533 mb
issue: 1991 remaster 2cd

Overture 3:59
Heaven on their Minds 4:23
What`s the Buzz / Strange Thing Mystifying 4:13
Everything`s Alright 5:15
This Jesus Must Die 3:36

 

genre: heavy psych
country: us
quality : lossless (ape, cue, log, scans)
time: 38'52"
size: 218 mb
 
Fuzz Acid & Flowers:

This band originated in San Diego and evolved out of Gerry and The Gerritones and The Palace Pages in mid-1966. Their line-up went through a number of changes with Pinney and Willis leaving in the summer 1966, being replaced briefly by Penrod and Morris. After their first album Danny Weiss left in August 1967, to form Nirvana, which never got off the ground. He then auditioned for Electra's Project Supergroup. Penrod and DeLoach left the following month, with Penrod re-joining Weiss in Project Supergroup and DeLoach recording a solo 45. 'Project Supergroup' became Rhinoceros in February 1968.

Their second and most successful album, In-A-Gadda-Da-Vida, was recorded by Braunn, Dorman, Bushey (ex-Voxxmen) and Ingle. This remained near the top of the U.S. album charts for over two years and is generally thought to be the first album to go platinum. The title track, a seventeen minute composition of Doug Ingle's, comprised the whole of one side. Although the lyrics of the remaining tracks like Flowers and Beads and Termination sound dated today, they also accounted for the album's enormous popularity in the flower power era. Ingle's organ work (his father had been a church organist which accounted for the classical influence in his writing), is always to the fore. This gave the group a similar sound to The Doors and his classical influence is particularly evident in My Mirage.

The album's phenomenal success proved too much for the group to live up to. In late 1969 Braunn was replaced by twin guitarists Mike Pinera (ex-Blues Image) and Larry Reinhardt (a former associate of Duane Allman). This new line-up recorded the live album and Metamorphosis but was unable to arrest the group's decline. They eventually dissolved on a farewell tour in 1971. Like so many other West Coast groups, they were to reform to cut two unsuccessful albums in 1975.

Mike Pinera went on to Ramatam, New Cactus Band and Thee Image.
  In the Time of our Lives (Ingle/Bushy) 4:23
Filled with Fear(Ingle) 3:27
Soul Experience (Ingle/Bushy/Brann/Dorman) 3:55
You Can`t Win (Weis/DeLoach) 2:48
Are You Happy 4:03

In-A-Gadda-Da-Vida (Ingle) 19:00

Eric Brann - guitar, vocals;
Ron Bushy - drums;
Lee Dorman - bass;
Doug Ingle - vocals, keyboards.

Producer: Richard Podolor, A Greene & Stone Production for York/Pala.
Mixed at American Recording Company, Studio City, California.
Mixing Engineer: Bill Cooper.
Photos: Non Jenkins, Ron Bushy.
Album Art: John Kress.

oe: My beloved band & their Worldwide Excelent Live lp forever, highly recommended !!!
 

genre: jazz
country: italy
quality : lossless (flac, cue, log, scans)
time: 38`37"
size: 241 mb

01 - Tailor Made 5:09
02 - Something Inside Keeps You Down 6:11
03 - Nova 7:10
04 - Used To Be Easy 5:12
05 - Toy 4:21
06 - Stroll On 10:34

Corrado Rustici (guitar)
Danilo Rustici (guitar)
Elio D'Anna (sax, flute)
Franco Lo Previte (drums)
Luciano Milanese (bass)
 

style: prog
country: italy
audio: lossless (ape, cue, log, scans)
size: 212 mb
issue: Mellow Records MMP 139

Apoteosi is one of those Italian bands that one would tend to gloss over in light of the slew of excellent releases from that country, and understandably so. The band plays symphonic progressive rock with many of the usual characteristics; piano, flute, beautiful melodies, and a tendency to sound like PFM at times. Add that to the fact that the album came out in progressive rocks downswing, 1975, and is really not as highly touted as, say the Quella Vecchia Locanda or PFM albums, a conclusion could be drawn that a certain wannabe connoisseur of Italian prog (read: me) might have clean overlooked this album until just recently. Not surprisingly, it's actually really damn good. Thankfully, this Italian one shot has enough distinguishing qualities to make it a necessary purchase for any serious collector. Most obviously, Apoteosi features a full time female vocalist, who is quite nice, though her vocals certainly don't make or break the album. More importantly, the band has a slight hard rock/psych sound at times, with fuzzed out electric guitar solos, plenty of organ and moog, as well as thick, consistently intriguing basslines that tie the proceedings together nicely. Of course, these portions are always set against other, quieter segments that are more typically Italian, for better or worse. Piano and flute melodies create beautiful backdrops for the female vocalist, who generally chimes in when things settle down, allowing the instruments to carry the melodies when the band chooses to crank up the intensity.
The best cut on here is probably the 14 minute two part second piece "Prima Realta/Frammentaria Rivolta", which features some absolutely sizzling moog lines over a driving rhythm section that will stick in your head for days. I remember back when I had only heard the album a few times, having the main theme from this piece in my head and being maddeningly unable to place it. The other highlight is the three part third track, which again exhibits some absolutely extraordinary melodies and powerful playing, especially with regard to the hard rockish guitar riffs. "Dimensione da Sogno" is uninteresting, basically a ballad over which the female vocals actually sound pretty cheesy. Still, its only about four minutes long, so no biggie. The album closes with what is perhaps the most atypical track on here, "Apoteosi" sounds vaguely improvised, build up around a repetitive bass groove as other instruments fall into place around it, building and releasing tension cyclically. Very cool. Essential at some point for fans of Italian symphonic for sure. - Greg Northrup
Add Apoteosi to the list of great bands who sadly only did one or two albums in the '70s, then vanished into obscurity, only to become more famous than ever due to the prog revival of the '90s. The music on Apoteosi's one and only album is very energetic and vibrant at one time, then very mellow, melodic and beautiful at others. I think they sound a little like an Italian Camel with a female vocalist and more sophisticated compositions. This album has five tracks ranging from two minutes to nearly 15 minutes in length. They all flow pretty well together, so the album tends to sound as if it is one piece of music and passes by quickly. There are plenty of great analog synth and guitar solos to keep it interesting. This is a must for fans of Itaprog. - Scott Hamrick

 

 

genre: psych
country: us
quality : lossless (flac, cue, log, scans)
time: 44'03" size: 256 mb

01 - If You Gotta Make A Fool Of Somebody 4:33
02 - Calypso 3:51
03 - Frank 'n' Curt Incensed 3:29
04 - Turtledove 3:28
05 - Mojo Hannah 3:30
06 - Niartaes Hornpipe 2:12
07 - Endless Sleep 3:58
08 - She Raised Her Hand 3:42
09 - Dakota Recollecti 12:40
10 - Gentle Dreams 2:39

Bass - Andy Kulberg , Donald Kretmar
Drums - Roy Blumenfeld
Flute - Andy Kulberg
Guitar - John Gregory (2)
Piano - Andy Kulberg
Saxophone - Donald Kretmar
Violin - Richard Greene
Vocals - John Gregory (2)
 

genre: prog
country: spain
quality : lossless (ape, cue, log, booklet scans)
time: 45'56" size: 307 mb
issue: 2003

The Spanish Progressive Rock Encyclopedia (review):
Iceberg were easily one of *the* best Progressive bands to come from Spain, or anywhere else for that matter. Their music is a shifting, complex mixture of fusion guitar and symphonic keyboards. "Coses Nostres" is most similar to Return to Forever's "Hymn of the Seventh Galaxy". Anyone who like's that RTF album will flip over Iceberg. Guaranteed! The scorching guitar dueling it out with the sizzling synthesizer will make you drop your jaw. The rhythm section are mind-blowing, riffing non-stop and enjoining battle with the guitar and keyboards. Vocals are too scared to get hear this hotbed so it's instrumental all the way. The subsequent albums reveal a more unique voice for Iceberg though still a very fusionesque form of symphonic progressive. Well worth searching out but the Try for "Coses Nostres" or "Sentiments" as they're a bit better than "En Directe" or "Arc En Ciel" though any of these are fantastic. ~ Mike Taylor.
 

genre: psych
country: us
quality : lossless (flac, cue, log, scans)
time: 1:08'55" size: 112 mb
misc.: compil. 67'-68'

Fuzz Acid & Flowers:
This band formed in the Chicago, Illinois suburb of McHenry in 1966. Despite its repetitive lyrics the band's only 45 I Live In The Springtime, has a strong enough melody to suggest that better things could have laid ahead.... but as it turned out, none of their other 1967-68 recording sessions were released on record until the mid-eighties.
Ricky Erickson (ex-The Nuchez) was brought in to do guitar on the 45 after the band's original guitarist (George Sorenson) had quit prior to the recording and I Live ln The Springtime did get some airplay in New York. Consequently the Lemon Drops recorded a second 45, the hard rockin' It Happens Everyday backed by a Ricky Erickson composition Alone, at the RCA Studios in Chicago, but it was never released. They then recruited a new 17 year old singer Dick Sidman and working on an ambitious new project with tablas, flowery harmonies and numerous special effects ran up a studio bill of $1,200 that Reggie Weiss, the owner of Rembrandt Records couldn't pay. Only in 1985 were the master tapes from this session released as Crystal Pure.
 

genre: beat
country: us
quality : lossless '93 (flac, cue, log, scans)
time: 45'07" size: 270 mb

Wiki

01. Dr. Stone 2:20
02. Just a Memory 2:17
03. Get Out of My Life Woman 2:46
04. Girl From the East 2:56
05. He Was a Friend of Mine 3:23
06. Hey Joe 2:48
07. Words 2:31
08. Back on the Avenue 3:05
09. War of Distortion 2:08
10. Tobacco Road 2:09
11. Goodbye My Love 3:10
12. Too Many People 3:15
 

genre: prog
country: sweden
quality : lossless (flac, cue, log, booklet scans)
time: 1:01'18 + 21'10"
size: 562 mb
issue: 2007 remaster expanded w/bonus cd 2006 Waiting Paths

ProgArchives:
KULTIVATOR is a Swedish band as unique as unclassifiable. This was formed in 1978 by the nucleus of TUNNELBANAN (Stefan Carlsson, Johan Svärd and Johan Hedrén), symphonic prog rock band highly influenced by YES and GENESIS, the guitarist Jonas Linge whose playing is reminiscent of Phil Miller and the soprano Ingemo Rylander. The band split just after the release of their first and unique album, due to the apparition of Punk-Rock and New-wave that appealed more to people at that time. The LP named "Barndomens Stigar" recorded in 1981 was reedited on CD by the APM label in 1992. On that occasion, the band reformed in order to release two bonus tracks. Today, the members of KULTIVATOR follow various artistic solo careers (music, theater and teaching).
KULTIVATOR's music : a vast field of investigations ! It seems impossible in a first approximation to classify them in a musical category rather than in another. Indeed, the facets of their music are so numerous, and one can notice the same about their influences, and their originality taken from their folkloric Swedish roots. The band itself recognized the following influences : MAGMA, KING CRIMSON, HATFIELD & THE NORTH, HENRY COW, ART BEARS, GENTLE GIANT, ART ZOYD and UNIVERS ZERO. A true hybrid to sum up that blends influences from Zeuhl, Art Rock, Canterbury, RIO and symphonic prog rock.
Some famous "journalistic shortcuts" place them halfway between Zeuhl and Canterbury ('Halfway between heaven and earth' sang Richard Sinclair...). Reality, in the light of their music and their influences, is much more complex and it needs a better definition of what Zeuhl is; much more than what commonly defines it on the base of powerful, hypnotic and repetitive themes, achieved by the rhythm section and the piano or on the base of incantatory chants with melodies at times dissonant but above all simple in terms of harmony.
So ? The question is not "To be Zeuhl or not to be". The answer would have been given by the following albums once KULTIVATOR would have found its musical maturity and would have gone farther than its original influences. Anyway, "Barndomens Sigar" is a must-have for any prog lover." ... Read more »

genre: prog
country: uk
quality : lossless (flac, cue, log, booklet scans)
time: 1:03'55" + 53'52"
size: 781 mb
misc.: live '71 - '72 2cd
issue: 2007 private

Volume One: Ladies of the Road [unabridged]
01. Pictures of a City [from Live at Summit Studios] (8:46)
02. The Letters [from Live at Plymouth] (4:42)
03. Formentera Lady [from Live in Detroit] (9:15)
04. The Sailors Tale [unknown origin] (5:35)
05. Cirkus [from Live in Detroit] (7:58)
06. Groon [from Live at Summit Studios] (6:52)
07. Get Thy Bearings [unknown origin] (8:33)
08. 21st Century Schizoid Man [from Live at Summit Studios] (8:57)
09. In the Court of the Crimson King [from Live in Detroit] (3:17)

Volume Two: Schizoid Men [gently ending]
01 - 11. Schizoid Men [plus a hidden "Schizoid Men" track]

- Robert Fripp (guitar, mellotron)
- Boz Burrell (bass, vocals)
- Mel Collins (saxes, flute, mellotron)
- Ian Wallace (drums)
- Peter Sinfield (FOH sound & VCS3 on Volume One)
 

 

genre: heavy psych
country: uk
quality : lossless (ape, cue, log, scans)
time: 1:16'21"
size: 479 mb
misc.: compil.

01. Earth Calling 2:12
02. Born To Go 5:02
03. Space Is Deep 8:31
04. Silver Machine 4:01
05. Motorhead 3:06
06. Angels of Death 1:43
07. Magnu 2:49
08. Hash Cake '77 4:44
09. High Rise 5:41
10. Douglas in the Jungle 6:45
11. Urban Guerilla 6:29
12. Who's Gonna Win the War 4:52
13. Masters of the Universe 3:28
14. You Shouldn't Do That 8:55
15. Spirit of the Age

genre: heavy psych
country: uk
quality : lossless (ape, cue, log, scans)
time: 1:12'24" size: 444 mb
misc.: compil. '80, '85

01. Master of the Universe 3:31
02. Earth Calling 2:14
03. Psychosis 2:23
04. Space Chase 3:10
05. Angels of Death 4:18
06. Motorway City 6:48
07. Born to Go 5:06
08. Brainstorm (Live) 8:41
09. Spirit of the Age 7:56
10. Motorhead 3:08
11. Dealing with the Devil 2:10
12. World of Tiers 3:18
13. The Fifth Second of Forever 3:30
14. Dust of Time 6:22
15. Levitation 5:50
16. Silver Machine (Live)
 

genre: heavy psych
country: uk
quality : lossless (ape, cue, log, scans)
time: 37'40"
size: 217 mb

1. Levitation
2. Motorway City
3. Psychosis
4. World of Tiers
5. Prelude
6. Who's Gonna Win the War
7. Space Chase
8. The 5th Second of Forever
9. Dust of Time

- Harvey Bainbridge / bass, backing vocals
- Ginger Baker / drums
- Tim Blake / keyboards
- Dave Brock / vocals, guitars, synthesizers
- Huw Lloyd-Langton / lead guitars

... Read more »

genre: hard
country: uk
quality : lossless (Wav, cue, log, scans)
time: 35'56"
size: 376 mb

Ian Gillan - vocals and harmonica
Roger Glover - synthesizer, kalimba and vocals
John Gustafson - bass and vocals
Ray Fenwick - guitars and vocals
Mark Nauseef - drums and percussion
Mike Moran - keyboards

Side 1
"Lay Me Down" (Ian Gillan, Ray Fenwick, Mark Nauseef, John Gustafson)—2:55
"You Make Me Feel So Good" (Gillan, Mike Moran, Dave Wintour, Bernie Holland, Andy Steele)—3:41
"Shame" (Gillan, Fenwick, Nauseef, Gustafson)—2:47
"My Baby Loves Me" (Gillan, Fenwick, Nauseef, Roger Glover)—3:35
"Down The Road" (Gillan, Fenwick, Nauseef, Gustafson, Glover)—3:27
Side 2
"Child In Time" (Ritchie Blackmore, Gillan, Glover, Jon Lord, Ian Paice)—7:23
"Let It Slide" (Gillan, Fenwick, Nauseef, Gustafson, Moran)—11:41

... Read more »

 

Style: sympho prog
Country: mexico
Audio: ape 818k
Size: 477 mb

from Gibraltar :
Absolutely superb symphonic instrumental band. Imagine the very best of Tony Banks and Steve Hackett (in particular, Trick of the Tail and Wind and Wuthering) and combine it with the power and majesty of Yes ("Awaken," Tales From Topographic Oceans) and you only begin to understand what this band is about. A must. A steaming hot band with ALMOST enough chops to pull it off. "Cuentos De Arquicia" is a blistering, energetic, complex instrumental built on a tritone chord progression. The players make a fair number of mistakes, mostly in timing. But given the complexity and speed of the music, one can ignore the sloppiness. This tune cooks! The second tune, "Manantial," is a slow, floating, dreamlike instrumental with nice bass work and a melodic guitar part. Not bad. Iconoclasta sounds like a band with great potential. This was their first album, and you can tell. Iconoclasta is part of the "new generation" of progressive music still being produced, and one of the few progressive bands from Mexico. While Mexico is not an obvious hot bed of progressive coals, Iconoclasta makes a worthy attempt at creating quality progressive music. Iconoclasta have several albums and one EP, which have recently become available on CD. Iconoclasta's 1983 self-titled first release represents a developing band that is still trying to find a style. Progressive doesn't come naturally from this band. It seems obvious that the band members have a passion for prog rock, but their overall style still sounds like a smattering of other bands rather than a cohesive whole. I keep getting the feeling that I've heard it all before. "Cuentos De Arquicia," the first cut, sounds almost popish, with a bouncy keyboard line. But Iconoclasta's sound develops in the second cut, and improves with each tune. The main instrument is the electric guitars, with the keyboards secondary, though frequently used. Ricardo Ortegon is a capable guitarist, but needs to find a few more tones for his guitar. It seems that Ortegon's first exposure to electric guitar was the "two slightly distorted guitars" from Mike Oldfields Tubular Bells. That tone is predominant throughout the album, though Ortegon breaks out from that tone somewhat in Reminiscencias. By "Memorias De Un Hechicero," I was tapping my foot and bouncing my head, despite myself. That is a good sign. "Estudio VI" is a guitar study over a progressive keyboard rhythm. Flamenco and other Mexican styles really surface in this tune, though other Mexican rhythms can be detected throughout. But fortunately, this album isn't JUST flamenco guitar and progressive rhythm. Reminiscencias is a far better conceived thematic work than Iconoclasta, addressing the band's pacifist anti-nuclear stance and their criticism of the arms race. However, I couldn't detect this by listening to the new singer, since the lyrics are falsetto Spanish. Fortunately, the focus is on the instruments and not the voice. The music is thoughtful and introspective, progressing toward a unified whole rather than a slapped together amalgamation. The 16'40 opus, "Reminiscencias De Un Mundo Sin Futuro" (Reminiscences Of A World Without A Future), is the centerpiece of this album. Though I think this epic cut starts out a little slow, the tune develops rather nicely, again showing Mexican influences throughout. This tune is a very good piece that definitely has its moments. I really would like to hear some of the later Iconoclasta. After listening to their first two attempts, I can definitely see a decent band in development, one that could become excellent with maturity. If Iconoclasta continues in the same direction, they may forge a unique, quality style of their own that pays homage to the best of the Italian progressive stylings and the band's Mexican origin. I haven't heard the others, but Soliloquio is supposed to have a fusion tinge, while remaining symphonic, and Adolescencia is supposed to be squarely in the rock-jazz vein. -- Mike Taylor Mexican progressive group. Largely instrumental, but the occasional Spanish vocals are very good. With the exception of intentional use of Mexical folk instruments, there is no trace of Mexican music (e.g., mariachi), the sound is much more like the Mahavishnu Orchestra or one of the Italian progressive groups. The best-known Mexican progressive, and for good reason! Their first two albums are true classics, with intricate arrangements for double guitar (electric and acoustic) and virtuosic keyboards. The first album emphasizes the guitar, and quite well. The second one features some great keyboard playing by Rosa Flor Moreno, especially on "Era De Metabolismos Tecnologicos", in which she plays some stunningly complex synth parts. The 18-minute "Remeniscencias de un Mundo sin Futur" features some uncredited vocals. Both highly recommended. -- Mike Ohman 

Style: prog
Country: uk
Audio: lossless (ape)
Size: 452 mb
Issue: Cd. Blueprint BP 279 (The first 1000 copies included a bonus CD EP - Volume Two)

cd1:
01. Back To Pluto (1987) 0:30
02. Promenade (alternate version, 1986) 3:44
03. Take This Heart (demo, 1972) 4:19
04. Beside The Waters Edge (demo, 1977) 3:45
05. The Geese & The Ghost (kiddies mix, 1975) 2:00
06. Which Way The Wind Blows (alternate version, 1974) 2:36
07. Rowey Song (1972) 4:11
08. Lucy Will (demo, 1978) 3:05
09. God If I Saw Her Now (demo, 1970) 3:34
10. In Memoriam Ad( demo, 1970) 3:23
11. Hunt Song (demo, 1977) 6:54
12. Rule Britannia Closing Theme (1981) 1:10
13. Exocet (instrumental mix, 1983) 3:10
14. Study In G (1978) 3:51
15. Holy Deadlock (vocal mix, 1978) 0:53
16. Catch You When You Fall (1978) 3:15
17. F Sharp (demo, 1969) 2:48
18. The Geese And The Ghost (demo, 1969) 6:38
19. F Sharp 2 (demo, 1969) 4:44
20. Rowey Reprise (1972) 1:20
21. Slow Dance (single demo, 1990) 2:41
22. The Brunt-Out Cattle Truck Hits The Road (1990) 0:18
23. The Women Were Watching (instrumental mix, 1983)

cd2:
01. Kip PJ (1978) 0:32
02. Queen Bettine (demo, 1972) 4:16
03. What Is The Meaninig? (demo, 1969); Farewell (demo, 1969) 5:58
04. Cradle Song (1979)

Anthony Phillips / guitars, piano, guitar, synthesizers, vocals, Mellotron, drums, bass, amondocello
+
Jeff Dunne / drums
Michael Giles / drums, percussion
John Hackett / oboe
Richard MacPhail / tambourine
Dale Newman / vocals
Dan Owen / vocals
John G. Perry / Wal bass
Rob Phillips / oboe
Paul Robinson / drums
Mike Rutheford / 12 string guitar, bass, glockenspiel
Richard Scott / Roland 808, Scamp
Jonathan Snowden / piccolo
 

 

Views: 2325 | Date: 01.05.2010 | Rating: 0.0 | Comments (2)

genre: beat
country: us
quality : lossless (flac, cue, log, booklet scans)
time: 1:00'29" size: 339 mb

Fuzz Acid & Flowers:

While they only had two big hits, The Beau Brummels were one of the most important and underrated American groups of the '60s. They were the first U.S. unit of any sort to successfully respond to the British Invasion. They were arguably the first folk-rock group, even predating The Byrds, and also anticipated some key elements of the San Francisco psychedelic sound with their soaring harmonies and exuberant melodies. Before they finally reached the end of the string, they were also among the first bands to record country-rock in the late sixties.

The key axis of the band was formed by guitarist/songwriter Ron Elliott, who penned most of the Brummels' moody and melodious material, and singer Sal Valentino, owner of one of the finest voices in mid-sixties rock. Spotted by local DJ Tom Donahue in a club in San Mateo (just south of San Francisco), the group were signed to Donahue's small San Francisco-based label Autumn Records in 1964. With Sly Stewart (later Sly Stone) in the producer's chair, they made the Top 20 right off the bat with Laugh, Laugh. The melancholy, minor-key original sounded so much like the British bands inundating the airwaves that many listeners initially mistook the Brummels for an English act. The follow-up single, Just A Little, was another excellent, melancholy number that became their biggest hit, making the Top Ten.
 

genre: psych
country: uk
quality : lossless (flac, cue, log, booklet scans)
time: 1:18'55"
size: 505 mb
issue: 2002 Emi remaster

tapestry of delights:
The roots of this band lie in the Oldham-based mid-sixties R&B groups, The Blues Keepers, and Heart and Soul and The Wickeds. These merged into a six-piece Blues Keepers which in 1966 became a four-piece. Then after John Crowther, a local businessman, became their manager they were installed in an 18th century farmhouse in Saddleworth Moor, adopting the new name of Barclay James Harvest.

Their first single, Early Morning, was crisp, clear and harmonious. It got quite a lot of airplay from John Peel at the time but didn't sell in any quantities and is now quite hard to find. The follow-up, Brother Thrush, was similar but had a fuller sound and a wider appeal. However, in terms of sales, it fared no better than its predecessor. Shortly after its release they met Robert John Godfrey, who helped them assemble The Barclay James Harvest Orchestra. This basically consisted of a loose knit group of classical music students who accompanied the band at live concerts and on recordings.

 

genre: beat
country: uk
quality : lossless (WavPack, cue, log, scans)
time: 33'03" size: 218 mb

01. I Saw Her Standing There 2:56
02. Misery 1:52
03. Anna (Go To Him) 2:59
04. Chains 2:28
05. Boys 2:28
06. Ask Me Why 2:29
07. Please Please Me 2:04
08. Love Me Do 2:24
09. P.S. I Love You 2:07
10. Baby It's You 2:44
11. Do You Want To Know A Secret 2:00
12. A Taste Of Honey 2:06
13. There's A Place 1:53
14. Twist And Shout 2:33

 
... Read more »

genre: surf
country: us
quality : lossless (ape, cue, log, covers)
time: 1:00'59"
size: 416 mb
issue: 1991 remaster

63:
01. Surfer Girl 2:29
02. Catch A Wave 2:10
03. The Surfer Moon 2:14
04. South Bay Surfer 1:48
05. The Rocking Surfer 2:03
06. Little Deuce Coupe 1:41
07. In My Room 2:14
08. Hawaii 2:02
09. Surfer's Rule 1:56
10. Our Car Club 2:25
11. Your Summer Dream 2:29
12. Boogie Woodie 2:00 64:
13. Fun, Fun, Fun 2:05
14. Don't Worry Baby 2:50
15. In The Parkin' Lot 2:04
16. 'Cassius' Love Vs. 'Sonny' Wilson 3:32
17. The Warmth of the Sun 2:54
18. This Car of Mine 1:37
19. Why Do Fools Fall In Love 2:09
20. Pom Pom Play Girl 1:33
21. Keep An Eye On Summer 2:24
22. Shut Down, Part II 2:10
23. Louie Louie 2:20
24. Denny's Drums 1:59

25. Fun, Fun, Fun - (mono, bonus track, single version) 2:22
26. In My Room - (bonus track, German version) 2:20
27. I Do - (bonus track)

Al Jardine - guitar, vocals, bass;
Mike Love - vocals, saxophone;
Brian Wilson - vocals, guitar, keyboards, percussion;
Carl Wilson - guitar, keyboards, vocals;
Dennis Wilson - drums, vocals.
 

genre: heavy prog
country: netherlands
quality : lossless (flac, cue, log, scans)
time: 1:11'17" size: 469 mb

1. Prologue (3:17):
A The time telepathy experiment
B Overture
C Ayreon's quest Act I 'The dawning'
2. The awareness (6:36):
A The premonition
B Dreamtime (words become a song)
C The awakening
3. Eyes of time (5:06):
A Eyes of time
B Brainwaves
4. The banishment (11:08):
A A new dawn
B The gathering
C The accusation
D The banishment E Oblivion
Act II 'King Arthur's court'
5. Ye courtyard minstrel boy (2:46)
6. Sail away to Avalon (4:02)
7. Nature's dance (2:28)
Act III 'Visual echoes'
8. Computer-reign (game over) (3:25)
9. Waracle (6:44)
10. Listen to the waves (4:59)
11. Magic ride (3:36)
Act IV 'Merlin's will and Ayreon's fate'
12. Merlin's will (3:20)
13. The charm of the seer (4:12)
14. Swan song (2:44)
15. Ayreon's fate (6:56):
A Ayreon's fate
B Merlin's prophecy
C Epilogue

Arjen Lucassen - All guitars, keyboards and bass on Dreamtime (Words Become a Song), Waracle, Listen to the Waves, Merlin's Will, The Charm of the Seer
Cleem Determeijer - Hammond, minimoog, mellotron, vocoder, oberheim, juno, harpsichord, piano and keyboards
Ernst van Ee - All drums
Jolanda Verduijn - Bass on The Gathering, The Accusation, Sail Away to Avalon, Ayreon's Fate, Merlin's Prophecy
Peter Vink - Bass on Eyes of Time, Brainwaves, The Banishment, Oblivion, Computer-reign (Game Over)
Barry Hay Alto flute on Sail Away to Avalon

Yet more info read in Wiki
 

Style: prog
Country: italy
Audio: mp3 320k
Size: 80 mb

ItalianProg:
In 1969 a couple of musicians from Viareggio band Gli Eremiti (Luciano Casa and Jimmy Santerini) joined a band from Livorno (I Rangers), and the resulting five-piece was called Capitolo 6. Two drummers were included in this line-up, though Luciano Casa mostly played 12-string acoustic guitar and sang backing vocals.

The group obtained a record deal with RCA subsidiary It (thanks to RCA producer Roberto Tessandori, who was also from Viareggio), a label that was much interested in singer-songwriters than in rock groups, and the first single appeared in 1971, the group being by now based in Rome.

They had a promising live activity, playing at Viareggio festival in 1971, and even supported Led Zeppelin in Rome, but 1972 saw a line-up change, with original members Casa and Santerini leaving.
New keyboardist Antonio Favilla and sax/flute player Loriano "Fischio" Berti were taken in; Berti left after not long (he's credited on the LP among the composers), and the remaining quartet released their first and only album in the same year.

 

genre: rio
country: uk
quality : lossless (ape, cue, log, booklet scans) & mp3 (mqvbr, covers)
time: 31'46"
size: 534 or 48 mb

Wiki

Side 1
"The Song of Investment Capital Overseas" (Frith, Cutler) – 2:38
"Truth" (Frith, Cutler) – 2:56
"Freedom" (Frith, Cutler) – 3:25
"(Armed) Peace" (Frith, Cutler) – 2:30
"Civilisation" (Frith, Cutler) – 4:52
Side 2
"Democracy" (Frith, Cutler) – 2:22
"The Song of the Martyrs" (Frith, Cutler) – 4:09
"Law" (Frith, Cutler) – 0:51
"The Song of the Monopolists" (Frith, Cutler) – 1:48
"The Song of the Dignity of Labour Under Capital" (Frith, Cutler) – 2:27
"Albion, Awake!" (Frith, Cutler) – 4:08

Fred Frith – guitars, keyboards, viola, violin, xylophone
Chris Cutler – drums, electric drums, noise
Dagmar Krause – vocals

genre: bubblegum
country: uk
quality : lossless (ape, cue, log, scans)
time: 1:02'45" size: 413 mb

Tapestry of Delights:
Forming in Cardiff in 1967 Amen Corner enjoyed a hit with the slow, bluesy Gin House Blues the following year. They employed a brass section which gave them a different sound from most of their contemporary beat groups. They also had a distinctive vocalist in Andy Fairweather-Low. A string of hits followed of which Bend Me, Shape Me (recorded by The American Breed in the US), High In The Sky and (If Paradise Is) Half As Nice were the most memorable. By the time of the last one, they'd switched to Andrew Oldham's new Immediate label. When the label collapsed in 1969 the group splintered with the brass section forming Judas Jump and the remainder becoming Fairweather.
Andy Fairweather-Low later had a patchy solo career and Blue Weaver became a sessionman for a number of acts including The Strawbs and Mott The Hoople.
 

genre: medieval folk
country: uk
quality : lossless (flac, cue, log, covers) & mp3 (192k, covers)
size: 191 or 44 mb

the Tapestry of Delights:
Amazing Blondel were notable for the use of several medieval instruments on their handful of albums for Island and DJM. Their very rare debut effort for Bell was an amalgam of folk and psychedelia on which Saxon Lady was the standout track.

Side one
"Pavan" (3:20)
"St. Crispin's Day" (2:28)
"Spring Season" (3:38)
"Willowood" (3:22)
"Evensong" (3:10)
"Queen of Scots" (Baird) (1:40)
Side two
"Ploughman" (3:05)
"Old Moot Hall" (2:38)
"Lady Marion's Galliard" (3:44)
"Under the Greenwood Tree" (3:15)
"Anthem" (2:52)

John David Gladwin - lead vocals, lute, theorboe, cittern, double bass
Terence Alan Wincott - crumhorn, recorders, pipe-organ, vocals (and occasional lead vocals), tabor pipe, tabor, flute, harmonium, lute, harpsichord
Edward Baird - lute, cittern, vocals (and very occasional lead vocals)
Chris Karan - percussion
Adam Skeaping - viola da gamba, violone
 

 

 

genre: heavy
country: uk
quality : lossless (ape, cue, log, booklet scans)
time: 1:12'57"
size: 477 mb
issue: 2004 remaster

"One Way or Another" (Ken Hensley) – 4:37
"Weep in Silence" (Hensley, John Wetton) – 5:09
"Misty Eyes" (Hensley) – 4:15
"Midnight" (Hensley) – 5:40
"Can't Keep a Good Band Down" (Hensley) – 3:40
"Woman of the World" (Hensley) – 3:10
"Footprints in the Snow" (Hensley,Wetton) – 3:56
"Can't Stop Singing" (Hensley) – 3:15
"Make a Little Love" (Hensley) – 3:24
"Confession" (Hensley) – 2:14
Bonus disc on expanded de-luxe edition from 2004
"Name Of The Game" (out-take)
"Sundown" (out-take)
"Weep In Silence" (extended version)
"Name Of The Game" (demo)
"Woman Of The World" (demo)
"I Close My Eyes" (demo)
"Footprints In The Snow" (demo)
"Can't Keep A Good Band Down" (edit)

David Byron – vocals
John Wetton – bass guitar, mellotron, electric piano, vocals
Lee Kerslake – drums, percussion, vocals
Mick Box – guitars
Ken Hensley – organ, piano, Moog synthesizer, tubular bells, electric piano, guitars, vocals

... Read more »

genre: heavy
country: uk
quality : lossless (ape separate, no cue & log, booklet scans)
time: 1:16'03"
size: 493 mb
issue: 2003 expanded de-luxe ed

side A:
01. Dreamer 3:42
02. Stealin' 4:51
03. One Day 2:47
04. Sweet Freedom 6:30

side B:
05. If I Had The Time 5:38
06. Seven Stars 3:49
07. Circus 2:43
08. Pilgrim 7:10
cd bonus:
09. Sunshine (Bonus Track) 4:48
10. Seven Stars (Extended Version) (Bonus Track) 7:03
11. Pilgrim (Extended Version - Previously Unreleased) (Bonus Track) 8:29
12. If I Had The Time (Demo) (Bonus Track) 6:03
13. Sweet Freedom (Alternative Live Version) (Bonus Track) 6:48
14. Stealin' (Alternative Live Version) (Bonus Track) 5:41

David Byron – vocals
Ken Hensley – keyboards, guitars, Vocals
Mick Box – Guitar
Gary Thain – bass guitar
Lee Kerslake – drums, percussion, vocals

 

 

genre: heavy
country: uk
quality : lossless (flac, cue, log, scans)
time: 31'09"
size: 219 mb

Tapestry Of Delights:
This hard rock outfit was most famous for having been produced by Bill Wyman. Brown, Graham and Taylor had all previously been in The End. ...

 

genre: psych
country: uk
quality : lossless (ape, cue, log, scans)
time: 1:13'40 "
size: 389 mb
issue: 1999 remaster

Tapestry of Delights:

Traffic was originally formed in April 1967 by Stevie Winwood after he left the Spencer Davis Group. The four original members retreated for six months to a country cottage in Aston Tirrold in Berkshire to get themselves together. Mason and Capaldi had all previously played together in Birmingham-based group, Deep Feeling. Wood had previously played with Locomotive.

Their debut single, Paper Sun, which featured some fine guitar runs of Mason's, was an ideal Summer single and climbed to No 5 in the UK chart. The follow-up, Hole In My Shoe, was arguably one of the classic UK psychedelic 45s. It was based on a dream of Mason's, and became one of the flower-power anthems of 1967.

A further single, Here We Go Round The Mulberry Bush, reached No 8 in November 1967 and the release of their debut album, in December, crowned what had been a highly successful year for the band. Mr. Fantasy contained many fine tracks like the melodic Dealer, the Eastern-influenced, mystical Utterly Simple, the jazzy Coloured Rain, and the more commercial tunes like Heaven Is In Your Mind and the title track.
 

genre: blues
country: uk
quality : lossless (ape, cue, log, booklet scans)
time: 1:10'43"
size: 448 mb
issue: 2002 remaster

Rock Your Mama - 3:46
Spoonful - 6:23
I May Be Wrong, But I Won't Be Wrong Always - 9:49
Summertime / Shantung Cabbage - 5:44
Spider In My Web - 7:43
(At the) Woodchopper's Ball - 7:38
Standing At The Crossroads - 4:10
I Can't Keep From Crying, Sometimes / Extension On One Chord / I Can't Keep From Crying Sometimes - 17:04
I'm Going Home - 6:24

Alvin Lee - guitar, vocals
Chick Churchill - organ
Ric Lee - drums
Leo Lyons - bass

... Read more »

genre: rock

genre: rock
country: uk
quality : lossless (ape, cue, log, scans)
time: 45'14" size: 245 mb

Side one
"Vas Dis" (Jack McDuff) – 4:41
"The Pilgrim" – 8:30
"Jail Bait" – 4:41
"Alone" – 2:20
Side two
"Lullaby" – 2:59
"Valediction" – 6:17
"Where Were You Tomorrow" – 10:23
bonus:
08. Jail Bait

Martin Turner – bass, vocals
Andy Powell – guitar, vocals
Ted Turner – guitar, vocals
Steve Upton – drums
 

 

Style: psych, kraut
Country: germany
Audio: lossless (flac, booklet scans)
Size: ~ 1,5 gb

Cosmic Dreams:
Many people consider Faust the most important and innovative of all early seventies German rock groups. The music journalist Uwe Nettelbeck was in 1970 given a large cash advance from Polydor to form a group and produce 'an epoch-making record'! As a result, the group Faust saw the light of day in the beginning of 1971. Meifert quit in September 1971, before the recordings of the studio part of the first album. His replacement was Richard Diermayer. An old school hall near Wumme (outside Hamburg) was converted to a studio (the house engineer here was Kurt Graupner). For several months, the band rehearsed their innovative repertoire, which they performed live for the first time at Musik Halle, Hamburg, in September 1971. Parts of a subsequent live performance in Wumme 21 Sept, were included on Faust's debut album, edited down to a 20 minute track named "Miss Fortune". This was one of the first German albums (along with Can's Tago Mago) to use studio wizardry, like editing tapes in cut and paste techniques, as a form of musical expression in itself. Indeed, Holger Czukay compiled many of Can's album tracks in this way. The good old Beatles used a similar, but more primitive, technique when they made Sgt. Pepper and Frank Zappa frequently used massive studio manipulation on his recordings from the late sixties onwards. The revolutionary music of The Mothers Of Invention was also a main source of inspiration for Faust. The album's first piece "Why Don't You Eat Carrots" opened with a weird, eerie sound collage with edits from "All You Need Is Love" and "Satisfaction". A spooky, manipulated organ tone then gradually increased in strength. A somewhat permanent rhythm is at last established (although torn apart several times). Truly a perverse and insane piece of music, sounding much like a speeded up soundtrack to a charade of Syd Barrett's favourite nightmares! "Meadow Meal" was equally strange, particularly the nonsensical and humorous lyrics (also a result from cut and paste technique?):
"You are a fruity fork
And the money you look up
and the Madame you look up
and the middle you look up a wonderful wooden reason
to stand in line keep in line
line up
crash the sound
you loose your hand
to understand
the accident is red"
(From "Meadow Meal")
As mentioned above, side two contained the live recorded "Miss Fortune", almost a direct cross between Velvet Underground and early Pink Floyd. However, to use the term "live" is to mislead - the tapes were manipulated with just as much studio wizardry as the other recordings. Overall, the album was a true musical manifestation of post-modernism: it was undeniably a peculiar album, but it is also evident that all this weirdness was carefully constructed! For every strange effect and strange happening, Nettelbeck certainly thought: 'I'm sure everyone will find this one here really outrageous! Needless to say, Faust fans everywhere are delighted with the results and I still think it is a great and unique album! Buy it and judge yourself! The sleeve concept, an x-ray image of a fist, printed on transparent plastic, was a full-blown use of the original idea for Second Hand's first album Reality. Indeed, their Death May Be Your Santa Claus displayed some ideas quite similar to the content of the first Faust album! In addition the insert, with liner notes and general information by producer and director Nettelbeck, and the vinyl itself, was clear. Even so, the album was hardly noticed in Germany at the time of its release, in fact it actually sold better in the UK! The packaging of the second album So Far (recorded March 1972) was even more outrageous. Enclosed were TEN inserts - one lithography each for the nine "songs" plus a general info sheet. The sleeve itself was plain black, as were both of the record labels! Musically, the album was more "together", i.e. not being much dominated by as many rapid edit changes as its predecessor. Still, the material was unconventional to say the, least, combining many different styles. Among the great triumphs were: "It's A Rainy Day, Sunshine Girl" (so go the lyrics all the way through, over a silly, rapid drum beat), "No, Harm" (this time featuring another repeating hook line) "Daddy, take the banana, tomorrow is Sunday", (a more angst ridden amphetamine blow out with deranged treated guitars), "So Far" (an ever repeating pseudo western beat with early Floyd-like, sound effects added) and "Mamie Is Blue" (dense, rhythmic nightmare noises recalling the atmosphere of their first album). The five shorter tracks were humorous pastiches on jazz, pop, etc. An improvement on their first album in my opinion. In fact, this album wasn't too distant from what Can did at the same time either.
In October 1972, Faust recorded a collaboration with the American minimalist music composer Tony Conrad. He had also been member of an early Velvet Underground formation and the group La Monte Young. The British record company Virgin released their joint effort in 1973 on their Caroline subsidiary Outside The Dream Syndicate contained two very long pieces of) serious avant-garde and rock minimalism that crossed certain) pieces of So Far with Terry Riley's In C, performed by Conrad, Diermaier, Peron and Sossna. If 60 minutes of extremely minimalistic music made up of repetitive sounds seem tempting, this is the album for you! However, it's hard to get hold of nowadays, as it never has been re-released. Expect to pay 50 DEM for a original copy. Faust Tapes (1973) was indeed a collection of Faust tapes from 1971 to 1973, and a return to the common cut and pastel techniques. The music of Faust Tapes ran continuously, a bizarre, but highly rewarding experience. Issued at the same price as a single, it sold so well in Britain that it entered the charts! However, many dissatisfied (and horrified) customers promptly went back to the stores to exchange the record after one hearing! German experimental rock fanatics have nevertheless had a long lasting passion for it and many people regard it as Faust's best. The group performed live in London on the day of release on 19 May 1973.
Their last album, Faust IV, was recorded at the Manor, Oxfordshire, England in June 1973 (but Kurt Graupner was as usual present as engineer). Then Faust returned to Germany. The album marked a downward turn, but the profound "Jennifer" and "Krautrock" (12 minutes of just that!) again captured an inventive group in action. Disagreements about their future musical direction led Faust to disintegration in August 1973, but various re-incarnations, among others involving Uli Trepte (ex-Guru Guru) and Peter Blegvad of Slapp Happy fame, centring around Diermaier, performed live until Spring 1974. Then Uwe Nettelbeck found it impossible to keep the involved musicians together as a productive unit, and consequently withdrew from the project. This was the end for Faust.
The British record company Recommended recognised Faust as true pioneers of the Rock-In-Opposition movement and re-released their 1st, 2nd and 4th albums (numbered as below!) in 1979 and 1980. Some years later, some previously unreleased material cropped up on two 7 inch EPs. These, in addition to three alternative takes, were all collected on Last Album in 1988, released in 1988 numbered copies! Munich And Elsewhere (1986) was a second collection of great Faust tapes, both studio out-takes and live. A fine, posthumous sequel to the 1973 album. Ever since 1974, there have been some obscure Faust reformations from time to time, but no further recordings are known.

genre: sympho prog
country: uk
quality : lossless (ape, cue, scans)
time: 40`51" size: 230 mb

From Prognosis :
How do you critique a voice like Annie Haslam? I have two Renaissance concert posters from the 70’s here on my office wall, so to say I am a fan would be an understatement. Still, Renaissance has had a spotty history among some progressive fans, especially the 80’s albums on the IRS label, when they went maybe just a tad too far into pop music, but there is no denying that Ashes Are Burning must be considered the groups finest achievement.
From the stunning opening Can You Understand? With deep resonating percussion ornate keyboard work and Russian classical influence to the poignant The Harbour to the soaring and ever popular Carpet of the Sun, this is an album I went through two copies of on Vinyl back in the day, wore them both out before CD’s and I still listen to this album three or four times a year. It’s that good. If you need to own (and you do!) at least one Renaissance album, Ashes Are Burning should top the list.