 genre: heavy
country: us
audio: lossless (flac, cue, log, scans)
time: 38'24" size: 250 mb
01. Rock And Roll Music 2:47
02. Sweet Lady Love 3:05
03. Linda 3:07
04. Black Train 2:44
05. Help Me Baby 6:45
06. Donny's Blues 7:48
07. We Got To Get Out Of This Place 12:08
GORDY GARRIS bs, vcls
DON HARTMAN gtr, vcls
BOB RIGGS drms
DICK WAGNER gtr, vcls
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 genre: heavy blues
country: us
audio: lossless (flac, cue, log, scans)
time: 35'27" size: 232 mb
Wiki:
All Pink Inside is Frijid Pink's fourth album, released in 1975. The album features long-time original drummer, Richard "Rick" Stevers, along with new members Jo Baker (vocals) and bassist Larry Popolizio. This time, Frijid Pink is back to their blues rock roots without the added heavy psychedelia heard on the previous three albums. This album features a cover of Chuck Berry's standard "School Days".
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 genre: psych
country: us
audio: lossless (flac, cue, log, scans)
time: 32'16" size: 215 mb
AllMusic:
Copies of Fresh Air's only album, 1970's A Breath of Fresh Air -- one of the very first albums released on the Amaret label, who issued recordings by the Minneapolis blues-rock quintet Crow -- are highly sought-after and treasured by collectors. Featuring dramatic organ flourishes and flamboyant guitar leads throughout, A Breath of Fresh Air is similar to other organ-driven hard pop groups of the era, including Sugarloaf, Blues Image, and Three Dog Night. The highlight here is the leadoff track, a fast-paced, histrionic discotheque take on Buffalo Springfield's "For What It's Worth" -- by then already a few years old -- which features heavy distorted guitar and Marc Piscitelli's intense lead vocals. Six of the remaining tracks were written by the group's "sixth member," Louie Caridi, including "Somewhere a Mountain Is Moving" (taking its title from a line in the Left Banke's "Pretty Ballerina"). Incidentally, this was a different Fresh Air from the group of the same name that featured keyboardist Don Randi (they recorded a self-titled Fresh Air album around the same time, but for Columbia Records). Piscitelli later became an engineer and backing vocalist, working with a varied group of artists during his career, including Glen Campbell, Juice Newton, Spirit, and John Travolta.
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 genre: heavy psych
country: us
audio: lossless (flac, cue, log, scans)
time: 1:02'28" size: 413 mb
Another group that represents the late '60s, early '70s heavy psychedelic era scene in northeast Ohio, USA (the same region that Dragonwyck is from). Having won the Starshine Productions' 'Battle of the Bands' in 1970, the five-member Freeman Sound was established as the most popular of several bands (including Morly Grey), that had records released on the Starshine label. This special collection of original songs and sounds is an exciting bit of rock history that documents some of the charm, wit and depth of talent that made Freeman Sound the special local phenomenon they were. This release includes twelve great, quality tracks, four on an extra 7" record. Bio and photos are on a poster. You'll get stoned on some mind-bending vocals backed by instrumentation that includes some very intense, heavy fuzz and wah pedal guitar sounds, solid drums and a screaming organ with flashes of famous British groups. This band broke up before they were able to make the most of their popularity. With this previously unreleased album, they may be taking up where they left off. For fans of intelligently-executed psychedelic hard rock and pop with a message.
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 genre: heavy, psych
country: uk
audio: lossless (flac, cue, log, covers)
time: 46'58" size: 302 mb
misc.: originally released in '70 in WG and France only
1. Enchanted Wood (Roger Saunders, Walter Monaghan, Hillman) - 2:54
2. Down In The Bottom (Willie Dixon) - 4:25
3. Have Love Will Travel (Richard Berry) - 2:48
4. Cry Baby Cry (Joihn Lennon, Paul McCartney) - 3:38
5. Time Of The Season (Rod Argent) - 4:50
6. Hoodoo Man (Sonny Boy Williamson, Junior Wells) - 4:23
7. Built For Comfort (Willie Dixon) - 4:23
8. Fly (Walter Monaghan, Hillman) - 3:15
9. Never Loved A Girl (Shannon) - 4:35
10.My Life (Roger Saunders, Hillman) - 2:50
11.Can't Stay With Me (Roger Saunders, Hillman) - 4:06
12.Dusty Track (Roger Saunders) - 3:33
Walter Monaghan - Bass Guitar, Electric Guitar, Piano, Mellotron, Vocals
Roger Saunders - Electric Guitar, Acoustic Guitar, Piano, Organ, Vocals
Bobby Harrison - Drums, Percussion, Vocals
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 genre: heavy prog
country: south africa
audio: lossless (flac, cue, log, scans)
time: 1:10'48" size: 446 mb
This is a many layered album, almost to the point of being cluttered, but this is what makes it interesting. Each time you listen you can hear something new, be it a tone in Brian Davidson's wailing vocals, a riff from Julian Laxton's screaming guitar, a sequence of notes from Barry Irwin's booming bass, the change from sticks to hands on Colin Pratley's awesome drumming, or merely putting your ear right up against the speaker to feel the presence of Ramsay MacKay on the live version of 'The Homecoming'.
The centrepiece of Galactic Vibes does not come at the centre of the album, but is the second track. Clocking in at over 16 minutes (that a third of the CD's playing time) is 'The Homecoming'. The shorter version appeared on 'Astra', but this live version has to be one of South Africa's epic tracks. Recorded live at the Out of Town Club (which according to a copy of their flyer in the sleeve notes, advertised a Steak Parlour), the track features a quite stunning and by all accounts legendary drum solo that lasts for the best part of 8 minutes before those dramatic guitar chords herald the return of the rest of the band.
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 genre: beat
country: uk
audio: lossless (flac, cue, log, scans)
time: 1:08'15" size: 347 mb
misc.: mono/stereo
Tapestry Of Delights:
Freddie Garrity worked as a milkman and had played in a series of local Manchester skiffle groups - The Red Sox, the John Norman Four and finally The Kingfishers - before the latter evolved into Freddie and The Dreamers in 1959. They appeared on BBC's 'Let's Go' and also on the 'Beat Show' radio programme in October of 1961. Then they followed this with a series of live appearances in the north of England and residencies at Margate's Dreamland and Hamburg, Germany's Top Ten Club. They were signed by EMI's Columbia label in the wake of The Beatles as record companies spread their antennae to root out other undiscovered talent. However, Freddie and The Dreamers were never in the same class. Their appeal was to the weenyboppers of the early and mid-sixties and their offbeat, slightly comic stage act made them the darlings of TV companies and parents everywhere. It was notable for Freddie's ungamely kicks and jumps around the stage.
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 genre: prog, fusion
country: us
audio: lossless (ape, cue, log, scans)
time: 1:04'46" size: 440 mb
misc.: recorded '74
01. Here's a Wet One 6:03
02. Notes on a Picnic 4:02
03. Variations 3:23
04. Mantra 5:30
05. For Bela Bartok 4:25
06. The Head's the Best Part 6:04
07. Cheese Dog 4:22
08. Chaos in the Conservatory 8:47
09. Perverseerance 4:42
10. Political Silence 4:42
11. Slippin' into Darkness 12:45
Joe DeChristopher - ac. & el. guitar
David Rose - electric violin, vcl
Bo Fox - drums, prcssn, vcl
Peter Eggers - kbrds, tenor sax
Ken Price - keyboards, vcl
Mike Robison - bass, vcl
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 genre: psych
country: uk
audio: lossless (flac, cue, log, scans)
time: 51'04" size: 342 mb
allmusic:
The Fraternal Order of the All is guitarist Andrew Gold in a home studio overdubbing mode, making the record he always wanted to make back in 1967 and 1968. To call this album retro-flavored would be putting it mildly, as Gold's tongue is firmly planted in his cheek all throughout the record and attendant booklet, right down to the fake names for all the musicians. With the exception of guest turns from Jimmy Caprio, Jimmy Herter and Graham Gouldman (who also produced one track and like Caprio and Herter, wrote one other), this is pretty much Andrew's ballgame here, with him playing and singing all the parts. The British rock, Beatles-styled psychedelic sounds truly abound on this disc, in the production values, instrumental work, and songwriting style. Highlights include "Tuba Rye and Will's Son/Balloon in the Sky" (with its Beach Boys-like vocal intro), "Rainbow People," "Freelove Baby," the three instrumentals that help the mood along ("Swirl," "Twirl," and "Whirl" and don't forget the "Groovy Party at Jimmy's Magic Pad"), and the trippy title track. Gold successfully nails all the sounds and cosmic junk that came with these kind of albums back during those heady times, and if the music wasn't so darn good on here, you'd declare this record just a nostalgic joke that works, but it is so much more than merely that; it's a tucked-away little gem that deserves a much wider audience. Andrew Gold passed away in 2011.
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 genre: psych
country: us
audio: lossless (flac, cue, log, scans)
time: 45'10" size: 265 mb
By the late-1960s Buzz Cason was quite a powerhouse in the music industry. He'd been a founding member of Nashville's The Casuals, recorded as a member of The Statues, and enjoyed solo success under the pseudonym 'Garry Miles'.
Together with Bobby Russell he was a prolific writer, ran a publishing company (Russell-Cason Music) and headed a record company (Rising Sons). He also enjoyed success as a back up singer, and as the owner and operator of Creative Workshop recording studios. Against that backdrop Cason further stretched his horizons via 1970's "The Revolt of Emily Young A Rock Novella By Buzz Cason and Pepper Martin."
A concept album co-written by singer/guitarist Pepper Martin, the collection was produced by Cason and credited to the studio band Foxx (consisting of bassist Butch Bourque, former Livin' End drummer Little Joe Martin, singer/rhythm guitarist Martin, and well known studio pro Al Perkins on lead guitar). This is one of those early-197s albums that's been largely lost to audiences. Judging by the number of reviews you'll find, it's even escaped notice from hardcore collectors with the few on-line reviews tending to be brief and somewhat critical.
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 genre: pop
country: uk
audio: lossless (ape, cue, log, scans)
time: 40'58" size: 242 mb
Wiki
Fox was a British-based pop band popular in the mid-1970s. Led by American songwriter and record producer Kenny Young, the band was perhaps best known for its charismatic Australian lead singer Susan Traynor, who performed under the name Noosha Fox.
"Yuli, Yuli" - 3:39
"Survival" - 4:17 (Herbie Armstrong/Young)
"Strange Ships" - 5:01
"For Whatever It's Worth" - 2:52
"Little Brown Box" - 4:16 (Armstrong/Young)
"Minor Therapy" - 5:00
"Lily Sing" - 3:14 (Jim Frank/Mary Zinovieff)
"Kupu, Kupu" - 5:50
"Howdja" - 3:28
"Me Without You" - 4:20
All songs by Kenny Young unless noted
Noosha Fox - vocals
Kenny Young - acoustic guitar, guitar, vocals, producer
Herbie Armstrong - acoustic guitar, guitar, vocals
Jim Gannon - acoustic guitar, guitar, vocals
Peter Solley - violin, keyboards, farfisa
Kimberly Frank - harmonica, drums, percussion, vocals
Roger Taylor - on "Survival" credited for singing higher than anybody else
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 genre: psych
country: us
audio: lossless (flac, cue, log, covers)
time: 45'19" size: 282 mb
This wildly ambitious opus lives up to its reputation as the most bizarre album in the Four Seasons' catalog. With the help of young songwriter Jake Holmes, the straightest of pop groups went psychedelic to create a concept album that casts a satirical eye on American life. The end result is often excessive both lyrically and sonically, but it's also relentlessly inventive, skillfully constructed, and never dull. Genuine Imitation Life Gazette never feels like a cheap cash-in because the group chases its cosmic muse without any worry of pandering to commercial concerns. In fact, fans of concise Four Seasons pop classics like "Dawn" and "Big Girls Don't Cry" will be shocked by songs like "American Crucifixion Resurrection" and "Soul of a Woman," both multi-minute epics that abandon tight pop song structure in favor of symphonic structures spiked with all manner of psychedelic sonic trickery and elliptical, satirical lyrics reminiscent of Van Dyke Parks' late-'60s work. The best of these epics is "Genuine Imitation Life," a critique of artificial pleasures in modern life set to a psychedelicized lounge backing that remains surprisingly sharp by modern standards. These moments are interspersed with shorter songs that combine sharp lyrics with lysergic but catchy melodies: highlights include "Mrs. Stately's Garden," a jazzy, up-tempo pop track with society send-up lyrics worthy of Ray Davies, and "Saturday's Father," a haunting ballad that underscores its tale of a divorced father visiting his kids with a ghostly tapestry of vocal and keyboard textures. Despite all these musical flights of fancy, Genuine Imitation Life Gazette retains a stylistic consistency throughout thanks to the group's stellar vocals. Valli delivers some of his finest leads on songs like "Genuine Imitation Life" and "Saturday's Father" and the rest of the group provides lush, flawless harmonies that match the varying moods of each song. The end result is an album that, while not for all tastes, offers a stunning example of the artistry of the Four Seasons at their most ambitious. ~ Donald A. Guarisco, All Music Guide
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 genre: beat
country: uk
audio: lossless (flac, cue, log, scans)
time: 1:10'07" size: 404 mb
Tapestry Of Delights:
From Blackburn in Lancashire this outfit were originally known as The Lionel Morton Four. Morton had been in the choir of Blackburn Cathedral, whilst Buck had previously played in several other bands including those of Johnny Kidd and Joe Brown. They were certainly one of the more talented groups of this era and had the added advantage of being able to write most of their own material. There was also an American band of the same name who recorded on Stateside but this seemed to have escaped the band’s attention.
The group had a wide musical range but in commercial terms certainly seem to have fared best with ballads. After enjoying minor success with their debut 45, Do You Want Me To, the 'B’ side of their next 45, Juliet, was hastily flipped to the 'A’ side after attracting airplay and proceeded to replace The Searchers at No 1 in May 1964. They may well be the only band to enjoy a No 1 in this way in Britain. This was to prove their only big hit, although the follow-up, a tearjerker, I Found Out The Hard Way, managed the UK Top 20. A cover of Leadbelly’s Black Girl, was much more uptempo, and like their rework of Buffy St. Marie’s Until It’s Time For You To Go, achieved some chart success.
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 genre: beat
country: uk
audio: lossless (flac, cue, log, scans)
time: 1:15'19" size: 339 mb
Tapestry Of Delights:
The roots of this Merseybeat band go back to Liverpool’s Bluecoat Grammar School where Liverpudlians Hatton and O’Hara were in a part-time band known as The Four Jays in the late fifties and early sixties. The Four Jays’ great claim to fame is that they debuted at Liverpool’s Cavern Club on 1 March 1961, 20 days before The Beatles’ first appearance there. By September 1962 Millward (the only non-Liverpudlian in the band - he came from Cheshire) and Lovelady had been recruited when the guitar and the drum slots became vacant and by November that year they had turned professional changing their name to The Four Mosts.
Their big break came in June 1963 when Brian Epstein became their manager, modifying their name to The Fourmost and getting them a contract with EMI’s Parlophone label. The Epstein connection ensured them relatively strong material and for their first single they recorded a Lennon/McCartney song which had previously been offered to Gerry Marsden. It made the Top 10. Epstein was also careful to exploit The Beatles’ connection in their favour and they supported The Beatles in their Christmas show at The Finsbury Park Astoria in December 1963. The follow-up was another Lennon/McCartney composition, albeit a lightweight soft-rocker, I’m In Love, which stiffed at No 17, in 1964. Later in the year they enjoyed an 8-months residency with Cilla Black in the 'Startime’ variety show at the London Palladium. During this time they achieved their biggest hit with Russ Alquist’s A Little Loving, which achieved the No 6 spot. Thereafter, it was all downhill really, in commercial terms at least. How Can I Tell Her didn’t quite make the Top 30 but is of some interest for its rather unusual march time. Their replica of The Four Tops’ first UK 45, Baby I Need Your Loving did return them to the Top 30, though it couldn’t manage the Top 20, but caused some dissent by breaking an agreement that EMI, as Motown’s UK distributor, would not release singles which were cover versions of Motown’s singles.
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 genre: psych
country: us
audio: lossless (flac, cue, log, scans)
time: 40'49" size: 260 mb
The Fort Mudge Memorial Dump was a band from Walpole, Massachusetts, that started playing by 1969, gathering a good number of fans. They got filed into the “Boston Sound”, among the Ultimate Spinach, the Beacon Street Union, Tangerine Zoo, etc.
With good technique and better ideas, they recorded in 1970 a great and very sought-after LP on Mercury label (SR- 61256), in which the voice of Caroline Stratton stands out to some Jefferson Airplane affinity. Guitarist Dean Keady, with his jazzy effects, leads the band.
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 genre: heavy prog
country: italy
audio: lossless (flac, cue, log, scans)
time: 40'07" size: 270 mb
01. Dies irae 7:36
02. Non e Francesca 3:32
03. Perchй. Perchй ti amo 6:00
04. Questo folle sentimento (introduzione) 1:01
05. Questo folle sentimento (seconda parte) 2:15
06. Walk Away Renee 4:26
07. Se non e amore cos'e 5:05
08. Sole giallo, sole nero 7:12
09. Dies Irae (A-Side 1967 single) 3:00
Tony Cicco / drums, percussion, vocals
Gabriele Lorenzi / keyborads, bass, vocals
Alberto Radius / guitars, bass, vocals
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 genre: psych
country: us
audio: lossless (flac, cue, log, scans)
time: 36'32" size: 241 mb
Fuzz Acid & Flowers:
Ford Theatre is the place where Abraham Lincoln was assassinated and the liner notes explain that "the six musicians chose this name because it corresponds to what they are trying to create - a vision of America in all its present chaos and agony".
The group were probably from Milford, Massachussets, given that their first album gives a credit to 'the population' of that town. Produced by Bob Thiele (Eden's Children, Free Spirits), Harry Palmer and Fred Cenedella, Trilogy For The Masses is excellent in parts, particularly the nine minute 101 Harrison Street. All the tracks were written by Harry Palmer and Wally Magee (who also lead the string quartet present on some tracks).
It's a pity that their follow-up, 'a musical concept' album was not as interesting.
Harry Palmer also played on Smooth As Raw Silk by Silk, another ABC production. ~ (Stephane Rebeschini/Vernon Joynson)
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 genre: prog
country: netherlands
audio: lossless (wv, cue, log, scans)
time: 40'04" size: 258 mb
Wiki:
Ship of Memories is a compilation album by the progressive rock band Focus. Issued in 1976, it compiles previously unreleased songs recorded in 1973 that had been left off other Focus albums. Because of this, it could perhaps be counted as a studio album, though the band themselves refer to it as a compilation.
Side one
"P's March" (Thijs van Leer) – 4:43
"Can't Believe My Eyes" (Jan Akkerman) – 5:17
"Focus V" (van Leer) – 3:02
"Out of Vesuvius" (Akkerman, Bert Ruiter, Pierre van der Linden, van Leer) – 5:50
Side two
"Glider" (Akkerman) – 4:38
"Red Sky at Night" (Akkerman, van Leer) – 5:50
"Spoke the Lord Creator" (van Leer) – 2:32
"Crackers" (Akkerman) – 2:42
"Ship of Memories" (van der Linden) – 1:48
bonus :
"Hocus Pocus" (US Single Version) (Akkerman, van Leer) – 3:24
Thijs van Leer – keyboards, flute, vocals
Jan Akkerman – guitar
Bert Ruiter – bass guitar
Martin Dresden – bass guitar
Pierre van der Linden – drums
Hans Cleuver – drums
David Kemper – drums
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 genre: heavy psych
country: japan
audio: lossless (flac, cue, log, scans)
time: 1:13'56" size: 477 mb
ProgArchives:
Formed in 1967, this japanse proggy-doom heavy rockin' band started their career with 60's West coast acid rock covers under the name Yuya Uchida & The Flowers ("Challenge", 1969). With "Anywhere" (1970 they were in search of their own sound and musical identity, surfing on 70's California rock and on the stoned heavy rock of the Sabbath. Satori (1971) remains their ultimate masterpiece, delivering a really captivating, personal psych-hard rockin' trip with discreet Eastern mystical influences. After this mesmerising stoner rock essay the band released a last album "Make up" (1973). Flower Travellin' Band is definitely a 70's cult psychedelic / space rock standard and a strong reference on the Japaneses underground scene with other psych-proto-metallers as Brush!? and Les Rallizes Denudes.
Wiki:
... They became friends with the Canadian band Lighthouse and in December relocated to Toronto, Canada, where they performed with artists such as Dr. John and Emerson, Lake & Palmer. While there they recorded their second original album Made in Japan and signed a deal with Atlantic Records. They returned to Japan for a show at the Tokyo Metropolitan Gymnasium, and in 1973 were billed to perform with the Rolling Stones throughout their Japanese tour, however all concerts were canceled when Mick Jagger's visa was rejected due to a drug conviction. Rescheduling, they released a half-studio, half-live album titled Make Up and in April performed at Maruyama Park in Kyoto. ...
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 genre: flower pop
country: uk
audio: lossless (flac, cue, log, scans)
time: 1:18'07" size: 477 mb
Tapestry of Delights:
These three session singers successfully articulated the sentiments of the flower-power movement with Let's Go To San Francisco, which climbed to No 4. The follow-up, A Walk In The Sky, also captured the feel of the flower-power era but didn't sell as well. Their later efforts were more ordinary and even a change of name to Friends late in 1968 failed to revive their fortunes. Inevitably, perhaps, this act were destined to be one-hit wonders and after their demise in 1969 Burrows went on to join Edison Lighthouse after a brief stab at a solo career, whilst Landon departed to Fat Mattress. All three had previously been involved in The Ivy League.
The Let's Go To San Francisco compilation features both sides of their four Deram singles on side one and an interesting selection of material on side two including both sides of the 1968 single the trio recorded as Friends (Piccolo Man and Mythological Sunday) and some other previously unissued songs, including the psychedelic Blow Away and two songs dating from the seventies, Journey's End and Silicon City.
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 genre: psych
country: us
audio: mp3 (320k, covers)
time: 32'16" size: 77 mb
Fuzz Acid & Flowers:
From Lynn, just north of Boston, Flat Earth Society were notable for their crispy, clear vocal sound. In early 1968 they were approached by the Boston advertising firm Quinn and Johnson to make an album and a jingle for the manufacturer of the 'Waleeco' candy bar - the F. B. Washburn Candy Company. That year every 'Waleeco' bar carried a coupon advertising the Flat Earth's Society's album Waleeco for $1.50 and six 'Waleeco' bar wrappers.
Recorded at Fleetwood Recording Studio in Revere, most of the material was written by Kerivan, the only non-original being a slow melodic version of Midnight Hour. The sound of their only album was notable for their crispy, clear vocal sound. Their most famus number "Feel'n much better" was included on this album. The album covers quite a wide rock spectrum with goodtime (I'm So Happy), folk (When You're There and The Prelude For Town Monk), hard rock (Four & Twenty Miles and Shadows), as well as psychedelia, but each track has the band's own style about it. Aside from Feelin' Much Better, the best tracks are arguably on the second side of the album. Dark Street Downtown has some haunting vocals superimposed upon swirling piano. Portrait In Grey is a haunting piano-oriented instrumental and Satori, a very strange psychedelic instrumental. The reissue is worth purchasing, although it's probably imprudent to fork out for the original should you come across a copy.
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