genre: sympho prog
country: us
quality: lossless (ape, cue, log, scans)
time: 1:17'16" size: 467 mb
ProgArchives:
This is one of the gems from the USA progrock history. The band featured Jim Como (lead vocals, drums, percussion), Bryan Howe (Hammond - and pipe organ, celeste and vocals), Ryche Chlanda (electric - and acoustic guitars, electronic devices and vocals), Frak Petto (piano, electric piano, ARP 2600 synthesizer, Mellotron, electronic strings, Oberheim DS-2 digital sequencer and vocals) and Martyn Biling (bass, 12-string guitar, Moog Taurus bass pedals).
Their first album "Night on Bald Mountain" was released in '75 and produced by Ian McDonald (KING CRIMSON). It sounds like a very tasteful progrock stew with elements from GENESIS, GENTLE GIANT and YES. The very disappointing second LP ('76) is entitled "Two, two ... ", no surprise that it turned out to be their swansong.
The album debut-album "Night on Bald Mountain" from 1975 is a bit unknown beauty, other USA prog rock bands NETHERWORLD and LIFT got far more attention from the prog fans all over the world. The twelve compositions (including seven bonus tracks, "All Killers, No Fillers" would Greg Walker from Syn-Phonic say) contain alternating and captivating music with strong echoes from early GENESIS and also GENTLE GIANT and YES. But many twists and turns give the music an original approach, including exciting arrangements from classic composers (MUSSORGSKY and DEBUSSY). The singer sounds powerful and has a wide range, the 'vintage' keyboards are very lush with spectacular synthesizer solos and the guitar work has a beautiful, 24-carat symphonic tradition. Highlight on this splendid CD is the epic title track (almost 20 minutes): wonderful changes of climate, great breaks, impressive pipe organ (evoking "Close to the Edge" from YES) and beautiful HACKETT-like guitar work. Also worth mentioning is Ian McDonald's contribution to this album, he plays flute on two tracks and saxophone on two tracks, his sound is very distinctive. Highly recommended! ~ Erik Neuteboom, The NETHERLANDS
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genre: psych
country: us
quality: lossless (flac, cue, log, scans)
time: 1:10'54" size: 451 mb
misc.: 2006
Fuzz Acid & Flowers:
Originally known as Bostwick Vine, they formed in Houston in 1966 and quickly became known as Fever Tree. Michael Knust had earlier been a solo artist. Like many other Texan bands of this era they spent time in San Francisco and many actually believed them to be Californians. This was partly due to their Top 100 U.S. hit San Francisco Girls, which reached No. 91.
Their first album was excellent, and reached No. 156 in the charts, but then decline set in. The remaining three each had moments of merit, particularly the second and third which got to No.'s 83 and 97 respectively in the charts. However the last album was released during a period when the group was breaking up and appears to have been completed using session musicians. The liner notes to the ERA CD suggest that many of the tracks were outtakes from earlier LPs.
Michael Knust reformed the band in 1978, recording a four-track EP Fever Tree Return and the Live At Lake Charles 1978 CD, which was released in 1998. The group style is best described as "Fever Tree gets funky" and neither release is recommended.
Kevin Kelly joined the band from The Byrds and went on to play in Jesse, Wolf and Wings, Clarry and Blanchefte were both earlier in The Sherwoods.
San Francisco Girls remains the best guide to their material. ~ (Vernon Joynson/Joe Rein/John Melbourne)
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genre: psych
country: us
quality: lossless (flac, cue, log, scans)
time: 36'06" size: 246 mb
Felt was formed in Alabama in the late '60s around the talents of Myke Jackson (guitars), Mike Neel (drums), Tommy Gilstrap (bass), Stan Lee (guitars), and Allan Dalrymple (keyboards). The band's self-titled album, released on the small Nasco label in 1971, contains half-a-dozen original songs written for the most part by Jackson. The mostly blues-styled songs on this album are full of great guitar work and contain fine Beatles-esque harmony vocals. While most of this album has a blues feeling to it, some of the songs hint of progressive rock with swirling keyboards, intense drumming, and blistering guitar solos. The album has recently been discovered for its musical excellence and has become a very rare collectors' item. Guitarist Lee would later go on to become a member of punk band the Dickies in the late '70s. ~ ~ Keith Pettipas, All Music Guide
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genre: kraut
country: germany
quality: lossless (flac, cue, log, scans)
time: 1:12'07" size: 427 mb
01. "Aufbruch Nach Rumдnien" 21:54
02. "Verwirrung" 18:21
03. "Telepathia" 6:45
04. "Kampf Der Mдchte" 5:27
05. "Das Unheil Breitet Sich Aus" 12:06
06. "Die Entscheidung" 7:33
Hans Joachim Irmler / organ, electronics
Lars Paukstat / percussion
Michael Stoll / bass
Steven Wray Lobdell / guitar
Werner Diermeir / drums
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genre: psych
country: japan
quality: lossless (flac, cue, log, scans)
time: 54'00" size: 323 mb
misc.: 1988
ProgArchives:
This is a legendary Japanese band, the first line-up included the known synthesizer player KITARO. The FAR EAST FAMILY BAND released a lot of records in the Seventies and Eighties, they sound quite unique (an Eastern sound) with echoes from PINK FLOYD.
The first album "The Cave Down To Earth" from '74 is mostly recommended, it has a spacey and slight psychdelic sound (like early PINK FLOYD) and contains ethnic elements which gives the music an original twist. Another fine album is "Nipponjin" ('75) with a keyboard version of FAR OUT's "Nihonjin" (FAR OUT was the precursor of FEFB). It's in the vein of the debut-album, the climates ranges from bombastic to more mellow. The album "Parallel World" was produced by the famous electronic pioneer KLAUS SCHULZE. ~ Erik Neuteboom, The NETHERLANDS
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genre: psych
country: us
quality: lossless (ape, cue, log, scans)
time: 44'00" size: 240 mb
Fuzz Acid & Flowers:
From Boston, this was a heavy psychedelic outfit with free jazz influences. Except for the classic blues track, Sweet Little Angel, all the songs on their album were penned by the group and sung in a very rasping voice by Jere Whiting.
The album was produced by Danny Weiss (Everything Is Everything) and recorded in New York. It's one of the few records issued on Vanguard Apostolic, the label managed by John Townley (from Family Of Apostolic).
Paul Lenart went on to play with another Bostonian, Peter Ivers. ~ (Vernon Joynson/Stephane Rebeschini)
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genre: beat
country: us
quality: lossless (flac, cue, log, scans)
time: 36'57" size: 139 mb
misc.: 1995
One of the most sought-after rock rarities of the '60s, this album was stylistically uneven, as can be expected from an LP cobbled together from recordings spanning a few years. About half, however, is sparkling psychedelic folk-rock, recalling Byrds's Fifth Dimension with its shimmering twelve-string guitars, multipart harmonies, and occasional trippy lyrics. Although the early material is more pop-oriented and doesn't fit in as well, it's pretty solid, recalling the Zombies and (in the very earliest tracks) Ricky Nelson. "Lila," "Tomorrow's Girl," and "Super Market" are genuine lost '60s treasures, and much of the rest of the album isn't far behind. ~ ~ Richie Unterberger, All Music Guide
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genre: prog
country: uk
quality: lossless (flac, cue, log, scans)
time: 1:06'03" size: 339 mb
misc.: unreleased 2nd Lp recorded in '74
Tapestry of Delights:
A progressive rock outfit who originally formed in Kent as Chapel Farm with a gritty vocalist called Paul Petley. Four tracks from a 10" acetate in this period (Fire-Fire, Vacuum, Alone and Afterthought) can now be heard on the Vivariatum CD and all four are pleasant but unexceptional keyboard-driven progressive rock.
Original vocalist Paul Petley left in 1971 to be replaced by Paul Lawrence. Then in 1972 they changed name briefly to Firequeen before switching again to Fantasy in 1973.
Fantasy's Paint A Picture album is now very rare and their 45 is pretty elusive too. The best tracks on the album were the title cut with its gentle, melodic vocals and the livelier Circus, with its good guitar work and swirling keyboards. Award, Icy River and Young May's Fortune are also worth a listen.
The first incarnation of the band split in 1974 before a projected second album, Beyond The Beyond, could be released, although it is now available.
There was a reformationin 1976 and six tracks from this reincarnation can also be heard on the Vivariatum CD. Personally I prefer the ones from 1970.
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genre: rhythm'n'blues
country: uk
quality: lossless (flac, cue, log, scan)
time: 40'27" size: mb
willard'swormhome:
Depending on how you count his UK releases and early US compilations, this is Alan Price’s third “solo” album since leaving the Animals in 1965. Of course, that hardly takes into consideration all the pies Price was fingering back then, including (but not limited to) slummin’ with Dylan (Don’t Look Back), The Alan Price Set, his musical stage scores and extensive UK TV work. Virtually all of which was lost on US audiences, who were only served up a couple of introductory compilation LPs with invisible promotional support here in the States. It also explains why – to this day – it’s Harry Nilsson who garners all the accolades for introducing the music of Randy Newman to a wider audience in 1970 (Nilsson Sings Newman), even though Alan Price had already been championing Newman’s work since 1967, recording seven of Randy’s tunes for his sophomore solo LP, A Price On His Head. Prior to his career-boosting soundtrack LP, O, Lucky Man! , Price joined forces with another under-appreciated UK institution, Georgie Fame, for this exquisite obscurity, Fame/Price/Together. Price continues his fascination with Newman by covering “Yellow Man” and, while there’s some evidence of Alan’s English Music Hall roots (e.g. “Rosetta”), Fame/Price offers a wider stylistic approach that just might find favor with stateside types, as well as those who first picked up on Price via his excellent 1974 release, Between Today And Yesterday . Some of this album’s stylistic variety may be the influence of Georgie Fame, who (I’m ashamed to say) I knew even less about than Price as a young record buyer, despite his status as a respected UK favorite. But Price dominates here (writing half of the tunes), and the pair tackles covers by Charlie Rich, Delaney Bramlett (Delaney And Bonnie) and Roosevelt Jamison (“That’s How Strong My Love Is”), among others. Repeated listens, however, will convince you that this one’s a keeper. We’ve also got Alan Price’s unreleased 1974 follow-up to O, Lucky Man!,
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genre: rock
country: uk
quality: lossless (flac, cue, log, scans)
time: 1:03'01" size: 410 mb
misc.: 1993
Tapestry of Delights:
This was a progressive outfit formed by Andy Fairweather-Low who'd previously been with Amen Corner and who subsequently enjoyed a reasonably successful solo career in the mid-seventies.
They scored a sizeable hit with Natural Sinner, but the group which was formed out of the remains of Amen Corner couldn't shake off the 'teenybopper' tag and broke up after just one album. Fairweather-Low pursued a solo career and Blue Weaver became a significant session musician.
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genre: rhythm'n'blues
country: uk
quality: lossless (wv, cue, log, scans)
time: 30'31" size: 192 mb
wikipedia:
The fourth and final studio album by rock and roll band Faces, released in April 1973.
With his career in the stratosphere due to successes from his solo albums, Rod Stewart became increasingly distanced from his band mates who were, by the time of the album's recording, little more than his backing group in concerts. As a result, according to Ian McLagan, Ooh La La was "Ronnie [Lane]'s album", Stewart distracted enough to have missed the first forty night's worth of sessions (Five Guys, p. 30). The album's recording would be plagued by Stewart's absence. Nonetheless, producer Glyn Johns held the group together, helping to placate tensions as he had with the Beatles during their Get Back sessions and helping the group to record a strong album in the style of its predecessor as opposed to the group's first two releases, which were self-produced and rather lengthy. Johns's contribution is acknowledged in the album's credits with the comment "Produced by Glyn Johns (see you in a year)," suggesting that the Faces intended to work again with Johns on their next studio album – one that ultimately would never be made.
Shortly after the album's release, Stewart reported to New Musical Express that he felt that Ooh La La was a "stinking rotten album", later making things worse by telling Rolling Stone that what he had actually said was that the group was capable of "doing a better album than we've done" (Five Guys, p. 32). The rest of the group was understandably hurt by the comments. Lane, especially hurt and not looking forward to being even more increasingly relegated to the sidelines, quit in June and was replaced shortly thereafter by former Free bassist Tetsu Yamauchi. The group recorded three subsequent singles, but never again recorded an album, disbanding in late 1975.
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