 genre: folk, fusion
state: uk
quality: lossless (flac, cue, log, covers, size: 179 mb)
time: 45'46"
Almond and Mark had both played together in John Mayall's Bluesbreakers previously.
In 1970 Jon Mark and Johnny Almond formed Mark-Almond (also occasionally referred to as The Mark-Almond Band). The melancholy tones of saxophonist Almond were an integral part of the group's sound, and Almond frequently played flute as well, including the bass flute. Characterized by a blend of blues and jazz riffs, latin beats, and a mellow rock aesthetic, and in contrast to the heavier guitar-driven rock of his contemporaries, composer and band leader Mark worked at producing warm and melodic works.[
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 genre: pop
state: uk
quality: lossless (flac, cue, log, covers, size: 317 mb)
time: 56'40"
Tapestry:
This duo made an immediate impression when Only One Woman, a Bee Gees' composition, burst into the UK Top 5 in 1968. The similar follow-up, The Walls Fell Down, also made the Top 30. They really could have been mistaken for The Bee Gees on that first 45 and interestingly there was another connection because Graham Bonnet was the Gibb brothers' cousin. In fact Bee Gee Barry Gibb discovered the duo, which led to them being signed to a Robert Stigwood management deal. Both sides of their first two 45s were written by the Gibb brothers. In addition to their three 45s they turn up on Polydor's 1970 Pop Party compilation, playing Breaking Up Is Hard To Do. They also recorded two German-only 45s and a self-titled album released in Germany and in America in 1970.
After The Marbles' demise, in October 1969, Bonnet launched a solo career and then at the very end of the seventies became vocalist with Ritchie Blackmore's Rainbow. Trevor Gordon issued an album, Alphabet (Polydor 2343 011) 1970.
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 genre: psych, heavy
state: peru
quality: lossless (flac, cue, log, covers, size: 397 mb)
time: 51'24"
Dreams Fantasies & Nightmares:
A Peruvian outfit whose music on their debut album veers towards heavyish progressive rock. There's lots of fuzzy guitar work and some appealing Hammond organ on some tracks too. Of the ten cuts, five are originals (the title cut, Lonely Night, Where Did You Go?, Rock And Roll Soul and I Can Do It, If You Do It) and of the five covers, there's a fuzz-drenched version of Power Of Soul and credible versions of 96 Tears (Rudy Martinez / Question Mark and The Mysterians), Are You Ready? (Mark Farner / Grand Funk Railroad) and the powerful ballad (I Will Bring You) Flowers In The Morning (John Cameron). The version of 96 Tears was completely re-arranged and performed at a much slower pace.
The second album Machu Picchu 2000 was much folkier in places, whilst tracks like Punto Y Aparte (Period) were quite jazzy. The magnum opus for me (and certainly the most psychedelic was Hey Espanoles, No Escuchan El Lamento De Los Incas? or Hey Spaniards Can't You Hear The Inkas Crying? Listen out for some lovely Latin guitar playing.
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 genre: psych, prog
state: uk
quality: lossless (flac, cue, log, covers, size: 473 mb)
time: 40'48"+48'03"
Wiki:
Live at the Padget Rooms, Penarth was the sixth album by Man, released in September 1972. It was the band’s second live album, both performed by this four-piece line-up, although the line up had substantially changed before this album was released, as was acknowledged on the original LP sleeve.
The idea for a live album came from Andrew Lauder, United Artists’ A&R manager, following the success of Man’s contributions to the Greasy Truckers Party benefit album, recorded at the Roundhouse in February 1972. It was agreed to record the album on “home territory” in South Wales at the Paget Rooms, Penarth, a seaside resort at the south end of Cardiff Bay.
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 genre: superb Progressive
state: uk
quality: lossless (flac, cue, log, covers, size: 376 mb)
time: 46'51"
ProgArchives:
What do bands like worstest ALAN PARSON'S PROJECT, greatest BUDGIE and CAMEL have in common?
The logical answer would be very little, but the truth is that the common denominator is DUNCAN MACKAY, a guy who paradoxically completed his studios in Violin (He was elected the most promising violin player in UK at the age of 11) but was famous for his keyboard performances.
After earning a music scholarship in Shrewsbury Public School, he finished his studies in 1967 obtaining his L.T.C.L. and L.R.S.M diplomas in violin. Soon was invited to join the famous (In Latin America) SERGIO MENDEZ band (1970).
Is in this days the he works in his debut album "Chimera" that is released in 1974 with Duncan playing Vocals, piano, Hammond B3 organ, Denon electric piano, clavichord, ARP synthesizer, the album was brilliant but it was the year in which Tales from Topographic Oceans and The Lamb Lies Down on Broadway were released, and due to the tough and unfair competition, the album never received the credit it deserved, being that people was busy buying music from the already famous icons who were at their peak.
In 1975 he joined Steve Harley and Cockney Rebel with whom they release the hit single Come Up And See Me, Make Me Smile that reaches the peak of the British charts, but in the meanwhile, faithful to the music he loves, works and releases his second album Score that saw the light in 1977, with famous musicians such as John Wetton and Mel Collins (King Crimson), it's only recently that this album has reached the status of Collector's Item.
Around he date of release of Score, Duncan worked with famous musicians and bands as KATE BUSH, ALAN PRSON'S PROJECT, CAMEL and Budgie, and in 1978 releases his third solo album VISA, more oriented towards Electronic music.
In 1990, after working for several years with different bands and artists, MacKay's fourth album is released under the name ?A Picture of Sound.?
After his last solo release, he continues working and teams Greg McEwan to form REUNION in 2003. ~ Iván Melgar Morey - Perú.
01. Morpheus 11:28
02. 12 Tone Nostalgia 8:23
03. Song for Witches 19:56
bonus
04. The Opening 7:03 ('90 recordings)
Composed By – Duncan Mackay
Vocals, Piano, Electric Piano, Synthesizer – Duncan Mackay
Violin, Electric Piano, Piano – Gordon Mackay
Drums – Mike Gray
Engineer – Peter Thwaites
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 genre: heavy psych
state: us
quality: lossless (flac, cue, log, covers, size: 124 mb)
time: 21'18"
Fuzz Acid & Flowers:
Just three or four copies of this Hollywood band's acetate were pressed originally, but it had a limited re-pressing of 400 on the Belgium-based Fanny label in 1992, and has also recently been reissued on CD. The album is well worth seeking out for lots of superb psychedelic guitar work.
01. The Time Of Hate And Struggle 3:07
02. Need You 2:41
03. Stay High, Fly Away Is Still Ok 3:59
04. Double Dare 1:50
05. Think It Over Twice 7:26
06. Trash Pad 2:15
Jack Linerly - guitar, vocals
Chet Desmark - druns, vocals
Rob Weisenberg - bass, vocals
Frank Tag - guitar, piano, vocals
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 genre: heavy
state: us
quality: lossless (flac, cue, log, covers, size: 242 mb)
time: 38'16"
Fuzz Acid & Flowers:
This very rare album was the work of a New York band with schizoid tendencies to dark seedy hard rock with fuzz/organ moves and soulful vocals and deep lounge moods like they'd been runnin' the neon ladies night bar circuit treadmill for a long time.
01. Sixteen 3:33
02. Different Face 2:41
03. Where Do We Go From Here 4:12
04. Get Together 4:22
05. My Baby 3:11
06. You Better Find Someone To Love 3:06
07. I'm Gonna Make It 3:00
08. If This World Were Mine 3:14
09. Dreaming Isn't Good For You 5:02
10. Crabby Day 3:41
11. Don't Tell Me How To Love 2:14
Joe Mattioli - l singer
Vincent 'Butch' Biocca - bss
Joe Gallo - pno
Joe Bertola - drms
Pete Skelton - l gtr
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 genre: psych
state: us
quality: lossless (flac, cue, log, covers, size: 267 mb)
time: 38'08" misc: H.P. Lovecraft as Lovecraft
AllMusic Review by Joe Viglione:
Drummer Michael Tegza is the only original from two years prior when the band was H.P. Lovecraft on Phillips Records. For this 1970 Reprise release, they are dubbed Lovecraft and have abandoned the psychedelic Jefferson Airplane sound for a progressive Crosby, Stills & Nash-meets-Uriah Heep flavor. In 1975, drummer Tegza re-formed the band again and separated the two words, their Love Craft album, We Love You Whoever You Are, took things into an almost Santana-goes-soul direction. The lineup here of Tegza, Jim Donlinger, Michael Been, and Marty Grebb is more than competent, maintaining the strong vocal presence of the original band, but the direction is too studied and not as much fun as the previous incarnation. "We Can All Have It Together" sounds like Seatrain's "13 Questions" meets Lighthouse's "One Fine Morning." "Brother I Wonder" delves right into that Crosby, Stills & Nash territory, while "Love Has Come" is "Carry On" by Graham Nash and company. Tegza's drums are big, and perhaps a bit out of place for what was a psychedelic band. Even on this, he tends to overplay, the rolling thunder of the percussion interfering with the acoustics on "The Dawn," which is an otherwise interesting piece. "Never Gonna Go Back" is The Doors Soft Parade by way of Rare Earth -- not a good combination. The worst excesses of the group are bared here when they should've blended The Doors with Roxy Music, the saxophone on this song not as outrageous and wild as it could be. "Dear" is one of the stronger tracks, with British flavors and exquisite harmony vocals and piano. There are no qualms with the musicianship, it's just that the promise of early H.P.Lovecraft has dissolved into very mainstream and somewhat uninteresting material. "Hopefully We'll All Remain Together" also almost makes it, but the preaching gets in the way of sounds that are in transition. This is a strange one, for sure. Interesting Jack London poem hidden on the bottom right of the front cover espousing the philosophy Neil Young sang about on "My My Hey Hey." The album just doesn't have the intensity this poem describes.
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 genre: pop, folk
state: us
quality: lossless (flac, cue, log, covers, size: 367 mb)
time: 57'29"
AllMusic Review by Eric Schneider:
Originally issued in 1973, CALUMET is one of the finest albums by Floridian singer-songwriter Lobo (born Roland Kent Lavoie). With a light, laid-back sound that makes contemporaries such as the Eagles and Jackson Browne seem edgy by comparison, Lobo eases into a set of amiable soft-rock tunes, including “How Can I Tell Her” and “It Sure Took a Long, Long Time.”
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 genre: folk
state: uk
quality: lossless (flac, cue, log, covers, size: 321 mb)
time: 52'13"
A1 Taking Care Of Business (A. Hull) 2:56
A2 North Country Boy (T. Duffy) 3:18
A3 Steppenwolf (A. Hull) 4:58
A4 Nobody Loves You Anymore (C. Gibson*, K. Craddock) 3:42
A5 When The War Is Over (A. Hull) 4:58
B1 Moonshine (T. Duffy) 3:50
B2 Lazy (A. Hull) 3:20
B3 Roll On River (C. Gibson*, K. Craddock) 5:23
B4 Tow The Line (C. Gibson*, K. Craddock) 2:36
B5 Goodbye (T. Duffy) 4:36
bonus:
11. Dealer's Choice 2:54
12. Tonight 3:05
13. You Put The Laff On Me 4:12
14. In Your Hand 3:16
Bass – Tommy Duffy
Drums – Paul Nichols
Guitar – Charlie Harcourt
Guitar, Piano – Alan Hull
Harp, Mandolin – Ray Jackson
Keyboards, Guitar – Ken Craddock
Vocals – Alan, Ken, Ray, Tommy
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 genre: gospel, psych
state: us
quality: lossless (flac, cue, log, covers, size: 206 mb)
time: 34'18"
Review by Richie Unterberger:
Whether it was the intention of Barbara Mauritz or someone on the business side of her affairs, Bring Out the Sun leaves the impression that she was being groomed for a solo career. The impression is hardly subtle or accidental: the album is co-billed to Barbara Mauritz and Lamb, and although Lamb co-founder Bob Swanson is still aboard as guitarist and (on half of the tracks) as a sole or collaborating composer, there are some songs on which he doesn't play at all. Lamb's second album, Cross Between, had a much higher proportion of gospel-oriented material than their debut, and Bring Out the Sun continues the move to contemporary gospel-rock of sorts, particularly on side one. As a consequence, it's by a considerable margin the most mainstream of Lamb's albums, and also by a considerable margin the least interesting. That hardly means that it's bad: Mauritz is quite a soulful singer, and the way she handles gospel-slanted stuff is reminiscent of the way another idiosyncratic vocalist, Annisette of Savage Rose, performed gospel-rock on some of the early-'70s Savage Rose albums (though Annisette was considerably quirkier). But the gospel-soul-ragtime-slanted tunes have a simpler, more upbeat tone that isn't nearly as intriguing as Lamb's more ambitious recordings, although one, "River of Boulevard," became Mauritz's best-known composition when it was covered by the Pointer Sisters on their self-titled Top 20 album in 1973. Yet side two gets considerably more interesting, "Salty" allowing Mauritz her furthest stretch into jazz torch singing territory. And, oddly, "The Vine" and "Live to Your Heart" end the album on its most adventurous note. Both songs sound much like they'd been recorded during the sessions for Lamb's first two LPs, as they revert to the slightly disturbing minor-keyed jazz-folk singer/songwriting, classical-tinged arrangements, and dream imagery-laden lyrics characteristic of the band's earlier work. And even on side one, the brief Mauritz solo instrumental piano piece "The Wish" makes a nice quasi-classical break on this uneven but worthwhile capper to Lamb's career.
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